Game Art Complete : All-in-One: Learn Maya, 3ds Max, ZBrush, and Photoshop Winning Techniques
A compilation of key chapters from the top Focal game art books available today – in the areas of Max, Maya, Photoshop, and ZBrush. The chapters provide the CG Artist with an excellent sampling of essential techniques that every 3D artist needs to create stunning game art.
Game artists will be able to master the modeling, rendering, rigging, and texturing techniques they need – with advice from Focal’s best and brightest authors. Artists can learn hundreds of tips, tricks and shortcuts in Max, Maya, Photoshop, ZBrush – all within the covers of one complete, inspiring reference.
Избранные страницы
Chapter 1 Creating a Box Using 3ds Max Andrew Gahan
Chapter 2 Creating an Oil Drum Using 3ds Max Andrew Gahan
Chapter 3 Creating Texture Maps from Photographs Using Photoshop Andrew Gahan
Chapter 4 Creating Normal Maps Using Photoshop and Crazy Bump David Wilson
Chapter 5 Concept Art Jason Patnode
Chapter 6 Anatomy Jason Patnode
Chapter 7 A Basic Game Art Education Luke Ahearn
Chapter 8 The Basic 3D Kit Using Maya JeanMarc Gauthier
Chapter 10 Overview of Maya Jason Patnode
Chapter 11 Introduction to ZBrush Modeling Jason Patnode
Chapter 12 Designing Your First Biped Character Using Photoshop and Maya Cheryl Cabrera
Modeling Basics Using Maya Cheryl Cabrera
Facial Expressions Using Maya Cheryl Cabrera
Shading and Texturing Basics Using Maya Cheryl Cabrera
Chapter 16 High Poly and Low Poly Character Modeling Using 3ds Max and Photoshop Tom Painter
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Chapter 9 Pipeline and Modeling Guidelines Using Maya Jason Patnode
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Другие издания – Просмотреть все
Andrew Gahan is a leading industry expert in next generation consoles and digital gaming. His roles have included Senior Artist, Lead Artist, Art Manager, Art Director, Art Outsource Manager, and Producer. Andrew is an expert in all gaming tools for commercial game development, including: 3ds Max, Maya, Photoshop, XSI, Gen Head, Z Brush, Mud Box, and Poly-boost (as well as other 3ds max plug-ins).During this time Andrew has worked on 14 standalone published games as well as sequential spin-off products; as well as developing a number of military training systems for the Warrior – Armoured Fighting Vehicle, Harrier and Tornado aircraft. In the last decade Andrew has been involved in recruitment and development of artists, including theoretical and practical training. Andrew has been a freelance consultant helping companies to develop and improve tools and applications that are used by artists in the digital gaming industry.Andrew is currently a visiting speaker and advisor at Liverpool John Moore University for the MA digital games course; and is an external advisor at the University of Bolton, supporting the development of their forthcoming 3D related courses. Andrew has judged the Independent Games Festival for the past 2 years. He has been a visiting speaker at Liverpool John Moore University since 2005, and will also be a speaker at the University of Bolton for the forthcoming 3D Games Modeling course.Andrew Gahan has given numerous media interviews, of which a recent selection is given below: 15 December 2007. Interview with Gamasutra magazine Media consumption: MotorStorm’s Andy Gahan.Television interview for 1-up.com with Pete Smith (Executive External Producer, SCEE (Sony)) in San Francisco, during GDC (Game Developer Conference) in the Sony Store for the launch of MotorStorm.Television interview for GamerTV with Pete Smith (Executive External Producer, SCEE (Sony)) in San Francisco, during GDC (Game Developer Conference)
| Название | Game Art Complete: All-in-One: Learn Maya, 3ds Max, ZBrush, and Photoshop Winning Techniques |
| Редактор | Andrew Gahan |
| Издатель | CRC Press, 2008 |
| ISBN | 1317441524, 9781317441526 |
| Количество страниц | Всего страниц: 624 |
|   |   |
| Экспорт цитаты | BiBTeX EndNote RefMan |
How To Paint Pine Forest In Watercolor – Easy Beginner Guide
If you want to create a realistic painting, there’s nothing better than using watercolors to achieve the desired effect, even as a beginner.
Not only do these colors blend extremely well, but they also render an element of flow to the overall painting for a seamless look. And one of the best ways to explore these advantages of watercolors is to create a forest scene with different shades of only a few colors.
So, today, I will tell you all about how to paint a pine forest in watercolor with just a few supplies.
Painting A Pine Forest In Watercolor
Before you start with the painting process, it’s important to keep the essentials handy so that you don’t have to spend time looking for them while painting. After all, it wouldn’t hurt to try and eliminate any distractions beforehand!
On that note, here are the supplies I will use today to paint my pine forest. But you can use anything you have in the vicinity as long as they help you work easily, any watercolor paints, paper, and brush would do, you can even paint watercolors on canvas if that’s what you have at hand!
Paint: Winsor & Newton: Cotman Series | Paper: Arches Watercolor Paper Cold Pressed 300gsm | Brush: Winsor & Newton Cotman Watercolor Brush Set of 4
Step 1 – Sketching The Outline
To start things off, I will sketch the outline of the landscape I have in mind with a light green pencil on the paper fit for watercolor painting. My pine forest is set on the backdrop of hills, with the trunks of the pine trees being closer to the eyes.
You can also use a normal pencil but don’t apply too much pressure. Otherwise, you may leave harsh, black strokes that can’t be erased and, ultimately, won’t blend with the watercolors. The green strokes, on the other hand, will seamlessly blend with the dominant color (green) of the painting.
Step 2 – Painting The Sky
Now, it’s time to paint the pine forest, starting with the sky, which covers a significant portion of the landscape. Besides, starting from the top of the page will give the area enough time to dry and keep the paint from getting smudged later.
We will use the water-on-water technique here to paint faster with a realistic effect. For this, grab a flathead brush, dip it in plain water, and run it across the sky. Make sure there are no water droplets or trails, which can become nasty marks later.
However, if you feel that the paper has become too wet, gently dab it with a clean tissue to soak the excess water.
Before the water dries out, thin out a little dark blue (you can also mix different shades of blue) and paint the sky using brisk, dabbing motions. Doing this instead of simply dragging the color will render a nice texture to the sky. And don’t worry if you cannot cover the entire space and leave white portions- these will create the illusion of clouds to make your sky even more vibrant!
Step 3 – Painting The Hills
While the sky is drying, clean the flat brush (or use a new one) to apply water to the hills the same way as before and thin out some green color on the pallet with water. The goal here is to paint one side of the hill with lighter shades and the other side with darker colors to add depth and texture to the terrain.
So, I am using a little more color on the left, but without letting the water on the paper dry out. Remember, we still need the flow from the water-on-water technique for seamless color application.
Step 4 – Adding Pine Silhouettes
Once the base color of the hill is laid and it’s still wet, take a pointed brush to make pine silhouettes on top, covering as much or as little area as you want. These silhouettes are a way of adding perspective to the scene, so you can extend them further back in the sky to give the illusion of an extensive forest stretching far and beyond.
Simply draw a vertical line and add some spiral-like strokes covering it till about midway. Don’t worry about the smudging colors and shapes- that’s what we’ve set out to achieve.
Step 5 – Painting The Foreground
With the background in place, we will now move on to painting the foreground or the land under the hills and pine silhouettes.
Again, I’m covering the area with water and using a lighter shade of green as the base color of this area. Paint with a flat brush using a similar technique to that of the sky, only this time, try not to leave any white spaces. The ground doesn’t have clouds!
I’ll follow up the light color with a darker shade of green by running the brush all over. This will help the two shades blend easily so there are no harsh contours.
Once the foreground has dried, you can use the same brush to lightly draw over the initial pencil outline of the pine trunks. Don’t apply too much pressure, though- we’re just looking to reinforce the reference lines and not create any prominent shapes at this step.
Step 6 – Painting The Hill With The Second Layer
I will now make the hill appear more prominent and closer to the eye compared to the rest of the background to add some more perspective to the scene.
For this, I will need a thicker consistency of a dark green shade, but not too thick, so as to create rough contours. My target here is to enhance the presence of the hill by adding more color and not shapes. I’d also advise keeping the top of the hills darker compared to the base to create a gradient effect.
Similarly, I will take a pointed brush, dip it in the same color, and go over my pine silhouettes to make them more defined. Draw vertical lines and inverted ‘V’s extending on either end of the vertical ones to create the bushy look of pine trees.
You need not cover all the silhouettes with this technique, as we still need the ‘shadowy’ effect to represent pines in the distance. As you can see, I have only repainted the trees on the top of the hill line to bring them closer to the eye.
Step 7 – Painting The Pine Trees In The Foreground
With everything else done, it’s now time to get started with the main focal point of the scene, aka the large pine trees in the foreground. Since the trees are the closest to the eyes, I’d want to create defined and precise shapes for them. But trust me, this step isn’t as complicated as it sounds!
First and foremost, grab the thinnest brush in your set (I have used a number 2), and dip it in some slightly thinned-out dark green color. Then, following the reference lines created earlier, draw vertical lines with the tip.
Using the same brush, draw inverted ‘V’s to paint the pointed leaves and a few strokes to give the branches a fuller look, like I am doing here. Don’t use too much color here, as we want to keep it lighter to create the illusion of a dense mountain forest. The trees will progressively get darker and shorter as we move to the ‘front.’
Now, lightly dip the brush in some dark green color and continue painting the trees darker than the ones already painted. You can even make the branches at the bottom of the tree a tad bit darker than the ones above. It’s all about perspective, you see!
Step 8 – Adding The Final Touches
Continue painting the pine trees one close to the other till you reach the other edge of the paper, with darker trees closer to the eye. It’s perfectly fine for the trees to overlap, as we don’t want to leave any barren land in our pine forest.
This can also be a great step to practice your strokes, so there are no fixed number of trees you should or shouldn’t paint. Allow the painting to dry completely and see if you need to add more color to certain areas by keeping in mind this rule of thumb ‘The closer the elements, the darker their colors.’
And with that, you have painted the perfect pine forest using watercolors!
Final Words
Now, that wasn’t really difficult, was it?
I know the water-on-water technique can be a little tricky to master, especially if you haven’t used watercolors. It will require you some practice to get the hang of how to thin out the paints so that they don’t end up dripping. But you will easily get the proportions right after a few tries!
And here’s another tip I have for you. If you see that the color you applied has blotted the paper, use the dry tissue technique to absorb it. Or, using a dry flat brush, quickly spread it across to spread it on the paper. However, be careful not to mix colors where you don’t need them to.
If you are looking for more tutorials just like this one, my watercolor roses tutorial and the guide on how to paint a forest that is not pine are amazing watercolor exercises that I highly recommend.
