Comparison image & layer configuration.
Sun and Moon in warm and cool colors
I thought of a imagine to match the feelings of “temperature” given from warm and cool colors. The idea has brought of this work, with a sun and a moon. The sun evokes the heat, the fire, and the range of warm colors , while the moon evokes the cold and the night with the range of cool colors .
We divided a drawing sheet in half horizontally, and we drew a circle in the middle. On the left of the circle we have drawn a crescent, and on the right an half sun. In this exercise, carried out with the 6° grade classes , the students had to distinguish between warm and cool colors, and try to create new colors by mixing of acrylic colors .
Each student then has painted the two parts of the drawing, with pure colors and with colors specially created. The painting was then further decorated in colored pencils with textured drawings, respecting the separation between warm and cool colors. The last touch was to add a contour in black marker , to highlight the images of the sun and moon.
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A. Paint the blue moonlit sky
First, I will explain how to draw a blue moonlit night.
First, paint the canvas with the bucket tool.
The canvas size is 800 × 800px72dpi.
You can set the size as you like.
Paint in a dark color with a little bluish shade instead of black.
Next, create a new layer and apply a gradient.
Use vivid light blue.
Gradient tool → [Transparent color from drawing color]
Set the tool properties to the state of the image.
(Shape: straight, do not repeat)
Check the angle increment and set the value to 90
This is convenient because you can easily create vertical and horizontal grades.
Drag from bottom to top to apply a gradient.
After applying the gradient, lower the opacity of the layer and blend the colors.
Create another new layer and apply gradation.
Make the drag distance shorter than in the previous Grade.
This completes the empty grading.
A. Draw the moon in the blue moonlight night
Next, draw the moon.
Create a new layer.
Select the ellipse from the sub tool shape.
Set the tool properties to the state of the image.
(Line / Paint: Create paint, check the vertical and horizontal directions)
Draw the shape of the moon in light blue.
Next, draw the moon pattern.
Create a new layer and multiply the layer mode.
Clip on the layer below.
Use a slightly dull light blue
Slightly lower the opacity of the “Shakumo Brush” and apply it.
Click here for the brush ↓
Draw a little more pattern.
In the same way, create a new layer → multiply and clip on the lower layer.
Draw a pattern to lower the opacity of the pen and slightly hit the dots.
(Cloud brush pattern only → Cloud brush pattern + round pen pattern) ↓
Then let the moon shine.
Duplicate the moon layer and set the layer mode to additive (flash).
Select Filter-> Blur-> Gaussian Blur.
Move the triangle to the right to blur.
I feel like the moon is shining.
The moon is now complete.
Next, draw a cloud.
Create a new layer and multiply the layer mode.
Using purple grey
Draw clouds with the “Puki Cloud Wave Brush”.
I think it is good to draw in the middle.
I think that the lower cloud looks like it when drawn thinly.
Click here for the brush ↓
Select “plaster” from the material and drag and drop it on the canvas.
Set the layer mode to multiply and set the opacity to 7%.
Using textures will make your picture more interesting.
It was completed.
Next, I will explain how to draw the yellow moonlit night.
The blue moon layer
Duplicate layer → duplicate layer.
From here, the main task is to change the color.
Edit the undercoat color → Adjust color → Adjust hue / saturation / brightness.
The color is slightly more purple than the blue moonlight color.
I will put a grade.
The blue moonlit night was two grades of the same color,
Here are three different colors of Grade layers.
Grade 1: Dark purple
Grade 2: 60% added (light emission) orange with strong yellow color
Grade 3: Light yellow
Adjust the moon and pattern to yellowish color to complete the yellow moonlit night.
I think it became warmer than the blue moonlit night.
C. Red moon night
The last is the red moonlit night.
The procedure here is the same as for the yellow moonlit night.
Duplicate the blue moon layer and adjust the color with hue, saturation and brightness.
On the red moon night, the same red color was applied.
The wider grading range has reduced the opacity to 70% (gradation 1).
Adjust the colors of the moon, patterns and clouds to complete the red moonlit night.
I think it became an eerie and suspicious atmosphere.
The Dark Side of the Moon
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Аноним asked:
Stumbled across your art recently, and I totally admire your work! As a complete noob to the digital art scene, I’d just like to ask whether you have any tips on colour picking (like for skin tones, under varied/dramatic lighting and such!). I have a ton of other things I want to ask, but I’ll limit myself to one question and then try to google the rest, haha/ Thanks for sharing your art with us! ^^
cranbearly answered:
ahh thank you so much! ♥ welcome to the digial art scene friend, i hope you enjoy your stay and ctrl + z
now onto your question! (if you don’t know what layer and layer modes are and how they generally work you should probably google that before you continue reading)
we all perceive colour differently (thx science) and i trust my intuition a lot when it comes to colour picking because of that, and also because i feel like you can make pretty much every colour combination work within the right context. context is key! but still, remember that all of this is about how i perceive colour, so you might not agree with everything i say.
here’s a quick rundown of terms you’ll see around a lot in reference to colours and shading: the hue, which is the ‘colour’ itself, the saturation aka the intensity, and the brightness [or value] which describes how dark or bright we perceive a colour to be.
rule of thumb: when you shade don’t just add black (or white) to your base colours, that will make your drawings boring and lifeless. use different hues and saturation!
now first things first: which skin colour does the character have?
you’ll mostly be navigating in the red to yellow spectrum for the skin tone. so when i pick the base colours i usually start with the skin and adjust the rest of the colours accordingly. if you’re not sure where to begin it might help if you first determine the values (brightness) of the base colours in grayscale.
and here are a few colour variations—i stuck to the approximate values but played around with a lot of different hues and levels of saturation.
now compare 3 and 5: you’ll notice that 3 is very bright and leans towards orange hues, whereas 5 has a pinkish tint.
on the left i gave 5 the hair colour of 3 and in my opinion the pink hue of the skin doesn’t go well with the orange undertone of the hair. you’ll have to experiment a lot to find out which combinations work for you.
ctrl + u is your biggest friend (or image >> adjustments >> hue/saturation in photoshop, the shortcut works in sai and clip studio paint too). play with the sliders and see what happens. i do that a lot myself, because it’s easier to coordinate the colours like that afterwards instead of trying to manually pick perfectly matching ones right away.
for further adjustments i like to use an extra semi-transparent layer on top of everything with just a single colour to add atmospheric light. this unifies the colours and makes them more harmonious, if that’s what you’re looking for. this is about as far as i’d go if i didn’t want to shade the drawing.
if i do want to shade, especially with high contrasts and dramatic light, i darken the base by just adding an additional black layer, here set to 40% opacity. of course you could add a colour layer like the ones i mentioned previously too.
to create an impression of dramatic light you need a high contrast between light and dark areas (1). if i want additional visual intrest i often add secondary light which falls onto the main shadow areas. here i picked a faint greenish blue to balance out the yellow (2). and since light is at least partially reflected when it hits a surface you should add a faint glow that goes across the shadow/light border. i uses a mid-brown with a very soft brush on a layer set to overlay here (3).
for this shading style i like to use the layer mode colour dodge with lowered opacity + fill settings. for some layer modes opacity and fill do the exact same thing (e.g. for multiply or screen). however for colour dodge there’s a big difference:
a lowered opacity merely alters the transparency of the entire layer. that looks pretty awful sometimes, because the bright orange affects the dark of the hair much more intensely than the already brighter skin. but when you lower the fill percentage you primarily lower the amount of light that falls onto darker colours. so the layer’s opacity setting treats every colour equally whereas the fill setting takes their values into consideration. it might be hard to understand if you don’t try it out yourself, so just play around to get a feel for how it works!
and to summarise, here’s a process gif:
colour is an extremely big topic and i’ve only barely scratched the surface but i hope that still helped you out a little! the fastest way to learn is always to try things yourself, so grab a sketch and experiment.
