digital cicada illustration

recently I have been practicing more and more on digital painting techniques, trying to see if I can emulate the look of traditional media in photoshop (which I am finding quite challenging!). I really don’t like the CG look, so its an interesting challenge, which I can tell is going to take a lot of practice to master.

Here is my first entomological digital “painting”, of a NZ chorus cicada (Amphisalta zealandica). As we move into the colder weather here in New Zealand, these guys have been disappearing.

cicada-digi-white-bg

This started off with sketches in real life, scanned in, then added digital paint over the top. The wings were also rendered with highlights, which you can only see on a darker background:

not quite sure what to do with the background yet...
not sure about this background, but you can see the highlights on the wings!

In other news, I was lucky enough to attend Chromaconnect (NZ’s only industry conference for creative fields like illustration, concept art, animation), last Friday. It was amazing, I took lots of notes and will be writing up a post with some stuff I picked up there to go up later this week for anyone who is interested!

Till then,

emma

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the process of a scientific illustration

Here are some in progress and final illustrations from a recent project I worked on for Leilani Walker, who is studying Cambridgea foliata (NZ’s largest species of sheetweb spider) for her PhD at the University of Auckland.

Starting with sketches, here is my initial concept sketch for one of the illustrations:

first sketch concept of two spiders fighting
first sketch concept of two spiders fighting

then the revised sketch after some valuable feedback, changing the leg joint angles and body positioning relative to the web:

cambridgea-grappling-sketchv2

Once approved, here is the basic inked version (inked by hand):

cambridgea_grappling_basic-1

I then added in the back legs, which were inked on a seperate piece of mylar, and adjusted to a lower opacity in photoshop. The stippling was added last, also digitally:

Cambridgea_Grappling_final

A similar process was applied for the other behavioural interaction illustration, showing initial ‘no contact’ between the two spiders. Here is the final:

Cambridgea_NoContact_final

In real life, these images show the spiders upside-down- that is, they hang from the web as they carry out these interactions!

It was a pretty fun project to work on, and it was interesting to be able to combine digital and traditional inking to get the final product.

If you want to find out more about Leilani’s research, please check out her blog.

Till next time!

emma

All images copyright E. Scheltema 2015. Please respect my client (these illustrations are part of their research) and do not copy or use any of these images without permission. If you are interested in commissioning work or collaborating on a project like this please contact me 

digital illustration techniques- what I’ve learnt so far…

Though I much prefer the look (and the process of making) art using traditional materials, it has been a goal of mine for a little while now to learn more about digital illustration techniques. Digital techniques are an indispensible skill to have today, and lend themselves quite well to many scientific illustration applications. I also love the idea of combining traditional and digital techniques so that the final work is not 100% digital- as can be seen in one of my first completed Photoshop paintings ‘Journey’ done for IF challenge.

I am very much a beginner but I thought it might be useful to post some of the simple tips and useful tutorials that I have been most helpful in my attempt to teach myself to paint digitally. Hopefully it might be useful to some of you too!

I started off with trying out pure digital painting and then moving on to colouring traditionally drawn/painted stuff that I scanned in. I have discussed ideas for both techniques below.

Pure Digital Painting

Not my favourite mode of using PS but definitely important to know!

  • Blending the paint:  While I’ve played around the photoshop before, the major issue I had trouble getting my head around to start with was how to blend colours in a digital painting?? It seems like this should be really obvious but there wasn’t too much information that I could find- nothing mentioned in any of the digital painting books I have looked at. Some less sophisticated graphics programs the paint blends as if it is wet in real life, however in PS, you have to go about blending in another (more controlled method). I would be lost without the excellent tutorials on this from Ctrl-Paint – especially this one:

Digital Painting 101- (3 of 5) – Mixing Paint from matt kohr on Vimeo.

Essentially this is all you really need to get started playing with the program! Give it a go and see what you can come up with.

dusky-dolphin
this dusky dolphin illustration was painted in Photoshop after scanning in the original sketch

The other essential I think is finding a brush you like. Though I know there are people out there who manage to use the default hard round + airbrush brushes in PS with great success, in my hands they usually end up making my digital illustrations look, well, digital! I’m not a huge fan of the digital polished look (as shown in the above dolphin illustration), so instead have enjoyed using Drew Greens gouache brush and also have just started using Kyle T Websters watercolour brush. This is an area that I’m still discovering and trying to figure out what works best.

Colouring traditional line work+washes 

This is now my preferred approach to creating illustrations with (partially) digital methods. Its something that I am definitely experimenting with a lot at the moment. I’ve tried a few methods of colouring traditional work, and this is the best I have come up with so far…

To colour traditional line work and washes…I initially started off using the method of making your line work set as ‘Multiply’ blending mode- so you can then paint in the fill areas on a layer below the lines. To colour the lines themselves, I would apply a clipping mask to the lines layer and set the mode of the clipping mask to ‘Screen’, then paint on my colour to the clipping mask. BUT I found this method gave very patchy results, with ‘screen’ colours not showing up at full vibrance and the painting beneath the line work showing through the lines, making them look messy.

migration_digital-colour_webver
I created this ‘Journey” illustration using the method described above

My new approach is one picked up from a couple of tutorials online- most helpful were these two:

 

Here’s a basic summary (total credit to the tutorials listed above- check them out for a full run-down on how to do this): to colour the line work/wash (also works really well with gradiented pencil or wash work) I remove any colours by desaturating the scanned image (make sure to convert it to RGB or CMYK mode first, if you scan in grayscale like I do, or it won’t work). Then go into channels menu (next to the layers tab) and CTRL+click the icon next to RGB channel. This selects all the white areas in your image. To invert the selection (ie select all your lines/washes etc) click Select–> Invert selection (or key board shortcut).

Next go back to the layers palette, create a new layer and fill it with your selected colour (you can use the quickly fill layers key shortcut described above). At this point you can also use your brush to paint in various colours in this layer. You will only be painting on the area selected by the marching ants.

Once you are done with colouring the linework/wash, you can deselect the linework, create a new layer and paint underneath the linework layer the fill in any white areas.

leaf-shapes-diagram_labels-incl-webproper
this little poster I made using the “new” method

This is a great method because it produces solid coloured line work that can be manipulated in many ways. The variety of options is endless once you start to realise the things you can achieve by utilising layers as well!!

Some other little tips I have picked up:

  • If your brush tip disappears it means you have CTRL lock on…oops, no need for a panic attack
  • When you start making really big files with all your painted layers, don’t be alarmed when PS tells you the file exceeds the 2gb limit to be saved, simply save the file as a .PSB (large document format).
  • To reduce the size of your document you can merge the layers into each other (but only if you’ve finished working on them), or add a white-filled layer above all the others- which is supposed to reduce the document size considerably. Also if you scan your images in as 1200dpi grayscale tiffs as I do, when you place your grayscale scan into your working document, make sure to reduce the resolution (about 400-600dpi for colour images). This makes them much easier to handle.
  • Start to think in layers. If you haven’t used PS or Illustrator much before it is really useful to learn more about layers because they allow so much flexibility when you want to work on isolated areas of a painting without potentially ruining the rest of your illustration
  • Choosing colour palettes in Photoshop: I found this REALLY DIFFICULT until I found this awesome tutorial by Zoe Piel. She says that creating harmonious/limited colour palettes in PS is actually really difficult because you have an infinite number of colours to choose from (as opposed to a number of tubes of watercolour paint). Her tutorial makes total sense and has been so useful to me. She also has an awesome tutorial on making a blender tool in PS.
  • Kyle T Websters brushes. That is all. Check them out. I have the wet’n’wild watercolour brush and can’t wait to try out more.
  • To quickly fill a layer with a colour use ctrl+backspace to fill with the foreground colour, alt+backspace to fill with the background colour (those are the colours on those two little square swatches in the tool menu [screen shot it]
  • A really cool tip I picked up from Edible Perspective (awesome vegetarian recipes!!) was that you can change the background colour (that is the colour behind your canvas- I have CS5 and it is automatically grey) by right-clicking on the background and selecting custom colour. This can be useful to know if you need to change the background for editing or colour correction purposes.

I hope you enjoyed this quick run down of the various tutorials and tips I have found useful so far in learning about digital illustration techniques.

If you have any tips that you have found useful I’d love to know- leave a comment below!

Till next time,

emma

dusky dolphin digital

Just quickly popping by to post this Dusky Dolphin (Lagenorhynchus obscurus) illustration I did in Photoshop. I roughly followed this tutorial (main difference being I used different photoshop brushes and I drew the sketch with pencil+scanned it in, rather than drawing it in photoshop). This was one of my things to try out in my september goals (and one of the few I actually did end up completing!!).

Not 100% sure I like it but I think I need to play around with the technique a bit to see if I can get it looking right.

dusky-dolphin

Hope you are having a great week,

Emma