Post by shiva on Mar 27, 2007 23:47:34 GMT
For blending I use multi-ways. Right now I developed a technique which I would like to call multiple skin-blending. Exept circulism, I've developed it at own powers, but I found out in tutorials that it is called that way. Only diffuse bufferflowing, pincer shade, center shade and polymere blending are techniques which I only seem to use it as an artist in that way :? . So I tell you guys what I mean with this, as you might probably already know this.
It is consisting the following techniques:
1 Cross-flow.
2 Cyclonic.
3 Diffuse buffer flowing.
4 Polymere blending.
5 Circulism.
6 Tipping & edging.
7 Pincer shade.
8 Center shade.
9 X-cross and double shade.
1: I use cross-flow to get a base layer: I estimate the area of blending and draw it lightly with a stomp pencil in multiways. Then I rub with some toiletpaper 90 degrees fromout the face flowing.
2: After I've done that, I retake a stomp pencil that is the same or slightly darker then the result I wanna have and draw in the morph a bit as the skin colour stain is flowing. I work fromout the darkest point, near the edges to get the area clarified. I take a toiletpaper again and rub with cyclonal movements, as I will diminish it skinstains tonal intensity.
3: I do have obvious boundries, so I will draw some more areas to see where the skin is going to flow. Then I taken a fair soft eraser and tip randomly at the edges, there where I think it is irregular, lighter and less edged. I just tip and pat with this eraser. Now I will have tiny white areas in the dark. Now I'm trying to pull and stretch the surrounding darker areas a bit, towards each area, while fading out it's tonal intensity. So the areas become buffered and midflowed.
4: If I did this, I take an irreversable and dangerous step. I take a high polymere and very hard lumoplastic eraser. Depends on how dark an area is, I rub it out first in a pallet with slightly lighter then the area colour. First I rub cross-flowing, not too hard. Then I take A really sharp pencil that is much lighter then the area I rub on. Then I rub in the paper in cyclonical movements. At this point, you will produce an enormous smooth surface, smoother then you could achieve with tortillions or tissues. Depends on the darkness, on how much you need to repeat these actions.
5: Drawing tiny circles in each other with a sharp pencil. You will create skinstains that are "human" imperfect. The more irregular the skinpatterns, the more I use circulism. I tend to midflow it, once the shape of such a stain is done.
6: Step 4 still misses spots, as the paper get very tiny statical fields that force the graphit at one place sometimes. I will take a very sharp pencil that is 2-4 degrees harder then the basecolour and just tip it. Some skin areas do need to be re-edged after the polymere blending. I will draw with that very same pencil very slightly those edges again.
7: A face don't suddenly ends, as most artist seemed to forget; a face in real-life fades out to the back. The mistake is they just draw the boundry, which separates the shadow from the face. What I do is to draw the edge and start out the dark part, drawing the face "too wide". I will close in to determine the face-shape. then I distance about 3 mm from the edge and take a 150% - 200% bolder pencil (depends on lightfall). I will gradually press harder when I come near to the edge. Then I do the same thing for the light side of the boundry. So I pincer this edge or boundry, let it flow naturally with the background, without loosing clearity and dimension. I polymere blend and tip sharply near the edge.
8: Some skinparts do have bursts; especially when you smile, your mouthcorners seems to create a skin-canyon. What I just do is draw the main line and draw with a much lighter, but verysharp pencil in the same direction you set the line with. I do this from the left to the right and back again,right over the setted line. There where the skinburst stops, I take a really sharp edged eraser and softly create a white line near the dark primairly setted line. Your burst will have depth and will fade-out into your skin that way, while determinig the shape of your chin for example. This is the close up of Alyssas mouth, to show what I mean with point 7 and 8:
Note that the skin is coming fromout the polymere blending and is indeed that smooth as you see it. It is the closest pic I could get. However, here I hadn't developed all the techniques yet to apply multi blending techniques on top of each other. Also note that technique 7 is discribing the southeast corner of this example and technique 8 those bursts near her mouthcorners.
9: The hardest part is where the light intersects the main shading. When hair is crossed over a face it leaves a shade, on top of the lightfall, which determines the overall shade of the face. When the hair leaves the face, the faceline will appear. The outhern side, will go darker and the shade right above, when the hair comes in, the shadow will intersect, right before the hair does. (look at the ref pic from Alyssa Milano what I mean with this; there where the left hairside leaves her face). This line of shades will cumulatively enhanche each other in tone intensity, but the the overlap of each boundry will diminish each other. You have to look closely where you start up building your shade, not edging too much at the intersectional overlap. And when you leave that area, you will have to increase the clearness of that edge first shortly, to fade it out eventually with your skin. With this boundry extension, you will create that X that will dimension the hair on top of your face, without loosing dimension of the face there with the background.
This technique I applied on Canson Bristol orange very smooth 224 g paper.
It is consisting the following techniques:
1 Cross-flow.
2 Cyclonic.
3 Diffuse buffer flowing.
4 Polymere blending.
5 Circulism.
6 Tipping & edging.
7 Pincer shade.
8 Center shade.
9 X-cross and double shade.
1: I use cross-flow to get a base layer: I estimate the area of blending and draw it lightly with a stomp pencil in multiways. Then I rub with some toiletpaper 90 degrees fromout the face flowing.
2: After I've done that, I retake a stomp pencil that is the same or slightly darker then the result I wanna have and draw in the morph a bit as the skin colour stain is flowing. I work fromout the darkest point, near the edges to get the area clarified. I take a toiletpaper again and rub with cyclonal movements, as I will diminish it skinstains tonal intensity.
3: I do have obvious boundries, so I will draw some more areas to see where the skin is going to flow. Then I taken a fair soft eraser and tip randomly at the edges, there where I think it is irregular, lighter and less edged. I just tip and pat with this eraser. Now I will have tiny white areas in the dark. Now I'm trying to pull and stretch the surrounding darker areas a bit, towards each area, while fading out it's tonal intensity. So the areas become buffered and midflowed.
4: If I did this, I take an irreversable and dangerous step. I take a high polymere and very hard lumoplastic eraser. Depends on how dark an area is, I rub it out first in a pallet with slightly lighter then the area colour. First I rub cross-flowing, not too hard. Then I take A really sharp pencil that is much lighter then the area I rub on. Then I rub in the paper in cyclonical movements. At this point, you will produce an enormous smooth surface, smoother then you could achieve with tortillions or tissues. Depends on the darkness, on how much you need to repeat these actions.
5: Drawing tiny circles in each other with a sharp pencil. You will create skinstains that are "human" imperfect. The more irregular the skinpatterns, the more I use circulism. I tend to midflow it, once the shape of such a stain is done.
6: Step 4 still misses spots, as the paper get very tiny statical fields that force the graphit at one place sometimes. I will take a very sharp pencil that is 2-4 degrees harder then the basecolour and just tip it. Some skin areas do need to be re-edged after the polymere blending. I will draw with that very same pencil very slightly those edges again.
7: A face don't suddenly ends, as most artist seemed to forget; a face in real-life fades out to the back. The mistake is they just draw the boundry, which separates the shadow from the face. What I do is to draw the edge and start out the dark part, drawing the face "too wide". I will close in to determine the face-shape. then I distance about 3 mm from the edge and take a 150% - 200% bolder pencil (depends on lightfall). I will gradually press harder when I come near to the edge. Then I do the same thing for the light side of the boundry. So I pincer this edge or boundry, let it flow naturally with the background, without loosing clearity and dimension. I polymere blend and tip sharply near the edge.
8: Some skinparts do have bursts; especially when you smile, your mouthcorners seems to create a skin-canyon. What I just do is draw the main line and draw with a much lighter, but verysharp pencil in the same direction you set the line with. I do this from the left to the right and back again,right over the setted line. There where the skinburst stops, I take a really sharp edged eraser and softly create a white line near the dark primairly setted line. Your burst will have depth and will fade-out into your skin that way, while determinig the shape of your chin for example. This is the close up of Alyssas mouth, to show what I mean with point 7 and 8:
Note that the skin is coming fromout the polymere blending and is indeed that smooth as you see it. It is the closest pic I could get. However, here I hadn't developed all the techniques yet to apply multi blending techniques on top of each other. Also note that technique 7 is discribing the southeast corner of this example and technique 8 those bursts near her mouthcorners.
9: The hardest part is where the light intersects the main shading. When hair is crossed over a face it leaves a shade, on top of the lightfall, which determines the overall shade of the face. When the hair leaves the face, the faceline will appear. The outhern side, will go darker and the shade right above, when the hair comes in, the shadow will intersect, right before the hair does. (look at the ref pic from Alyssa Milano what I mean with this; there where the left hairside leaves her face). This line of shades will cumulatively enhanche each other in tone intensity, but the the overlap of each boundry will diminish each other. You have to look closely where you start up building your shade, not edging too much at the intersectional overlap. And when you leave that area, you will have to increase the clearness of that edge first shortly, to fade it out eventually with your skin. With this boundry extension, you will create that X that will dimension the hair on top of your face, without loosing dimension of the face there with the background.
This technique I applied on Canson Bristol orange very smooth 224 g paper.
i'm sure they will be a real help to lots! 