Xin now adds reflections to the smooth stone of the floor. Vertical surfaces that receive a lot of light, like the pillars, will reflect onto the floor if they are also reflective. Using the polygonal lasso tool to select the areas where the reflections would be, Xin paints in the reflected light of the torches. When painting reflections, it is important to think of the objects you are painting in 3D space while using your knowledge of perspective. These reflections will help tie together the composition and tie down the values of the piece.
Paint Sun Rays- Paintings by Artist Ashley Dull
Today’s featured artist is Ashley Dull who loves to paint sun rays in landscapes. Apart from joy, these paintings are a good medium to induce happiness. Her works often tend to connect the viewers to the inner mind and explore peace.
She is interested in creative artworks since her childhood in the farms of Iowa. Ashley did her first exhibition when she was nine years old. Most of her works succeed to express hope, peace and joy.
Paint Sun Rays
In this painting, there is an amazing mix of greens and yellows. The reflection and shadows are beautifully painted, thus giving a realistic look. The artist was bought up in the middle of natural beauty. This influenced her subject choice to a greater extend. She was always fascinated by light and trees.
She lives in Minnesota with her husband and two children. She works in the studio when she is not running behind her kids. Her works are exhibited in local and state galleries. Some of her paintings are also picked up by private collectors. She launched her website in 2017 and attracted visitors around the globe.
She polished her skill by studying art and developed a special interest in painting sunlight. Oil paint is her favorite medium to work with. She plays with paint and light to create illuminated artwork with sun rays. This give an emotional touch to her paintings.
Ashley’s Technique
She starts with a blank canvas and paint carefully creating several layers. Use of multiple layers give a realistic and multi-dimensional appearance. The foregrounds are painted heavily using a palette knife to make a textured feel. Later some areas are blended with a soft brush to create a sunlight effect.
Ashley see nature so well that each minute changes are portrayed on canvas. She admires nature and its power that keeps her close to God. This is the very basic reason for her interest in “light”.
“Peace On Earth” Oil on Canvas, 30” x 24”
Check out Ashley’s How to paint sun rays video in Youtube .
“If I can help someone feel a connection to the world around them and a sense of purpose in this life, then I know I have done right by my talent.” -Ashley Dull
Adjusting the Render
The first step in this tutorial is to ready the base render image for a paintover. Using a Curves adjustment layer and painting on the layer mask with a soft brush, Xin lightens key areas to which he wants to bring attention. Adjustment layers allow you to easily modify your artwork while keeping it reversible. This is called a non-destructive workflow.
The repeating lights along the walls help create what is called visual rhythm. This creates interest and helps guide the viewer towards a focal point, which in this case is the door at the back of the room. Using the values and contrast in your image to create visual rhythm is a key part of creating dynamic images. You can also use this method to bring in secondary fill lights.
The arrows of compositional direction Xin draws
Next, Xin reduces overexposed areas of the render by painting on a new layer in a medium grey using the Darken layer mode and a soft brush. By reducing the maximum brightness of your painting, you leave yourself room to add detail later in a more controlled way. Extremely bright and dark values bring attention to those areas of the painting and you should use them very carefully. Keep in mind that your art is going to serve as a blueprint for the environment and level artists.
The first stage of the paintover is to break up the large planes in your piece. Xin uses the polygonal lasso tool and a textured brush to create variations in the ceiling and floor architecture. Changing the elevation of your surfaces helps add interest and breaks up large and continuous surfaces. At this stage in the painting try not to get caught up in the details. Stay fairly zoomed out and work with a large brush. The purpose of this piece is to spark a conversation.
Painting in the stairs
The next step is to create a distinction between certain areas and materials. Adding trim or edge elements can help frame certain areas and make them more distinct from one another. Details like this can also imply information to the viewer, such as the wooden beams Xin adds indicating this room was likely built by humans. Small elements such as rocks and cracks help show structure and break up continuous lines while maintaining the general layout of the piece. Props such as pots, crates, or debris can also be used to hide straight lines and harsh 90° angles, which will make your piece feel more organic. Xin also uses some of these elements to help frame his piece, which breaks off the flow of the painting and brings the eye back to the center of the piece.
Varying the types of materials in your piece is another method to break up large areas, while also adding detail that doesn’t obstruct the greater composition. Adding strong lines can also help clarify the perspective of your piece, which enforces the structure and balance of your piece.
Next, Xin adds carvings, cracks, and chips to the stone pillar in the foreground. Carved elements and visual details are a core part of environmental storytelling. This is your opportunity to show world-building elements in your piece. Always take the time to do appropriate historical and cultural research on the elements you include in a painting. Implying certain elements of your piece have in-world significance helps make the visual design and shape language of your piece more enriching to the viewer. Diagonal lines of cracks and chips can also serve your composition by breaking up mostly orthogonal lines used in interior environments.
Another technique for breaking up large shapes in your piece is by adding texture with your brush strokes. To keep your piece looking realistic it is important to maintain a balance of harsh and textured edges. The use of the polygonal lasso tool for hard edges is an essential tool in Xin’s paintover technique. Because 3D renders tend to have sharp and perfect edges, keeping some of your painted edges sharp will help blend your paintover with the rendered geometry.
