Digital art autodesk sketchbook pro
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Now simply blend the light and shadow with a blending brush. You can imagine the light being everywhere. First, use the Inking Pen to paint the area that would get the most light, regardless of the position of the light source. They're perfect for defining the form before you decide the actual lighting-they take the function of the line art while contributing to the final painting as well.Īmbient occlusion is very easy to paint. Time to start painting! Ambient occlusion is a name for the little shadows that stay dark no matter where you put the light. Step 2Ĭhange the background color to 50% bright grey as well. Name the copy grey masks, and the original ao. Take the Inking Pen and fill all the masks in the copied group with 50% bright grey.ĭuplicate the group once again.
#Digital art autodesk sketchbook pro how to#
How to Paint Ambient Occlusion Shadows Step 1ĭuplicate the group (select Duplicate in the Layer Menu). Step 9įinally, to turn the painted shapes into functional masks, lock their pixels. Second, select all the layers and Group them. There are two more things we can do to keep order in our file. All these masks can be safely placed on one layer. And we'll be copying them, too! To avoid a total mess, let's combine some masks into one layer-select the layers with shapes that don't touch each other, and select Merge Layers in the Layer Menu.
Step 6Īfter you've painted all the masks, you may notice there are so many of them that it would be hard to find the one you want to edit.
You can paint multiple shapes on the same layer, but only if they don't touch each other. and pressing Backspace to cut the selection from the object in the back. You can remove the concealed parts by selecting the object in the front with the Magic Wand tool. To make the rest of the process easier, the masks should only contain the visible part of the object.
Step 3įill the outline using the Flood Fill tool. Take the Inking Pen and draw the outline of one of the objects. Each shape should be painted on a separate layer. First we need to define the "masks"-the shapes of the objects.
#Digital art autodesk sketchbook pro pro#
Sketchbook Pro doesn't have real Clipping Masks, but it offers a workaround that we're going to use today. You can do it in two ways: paint slowly, trying to stay away from the edges of other objects, or use Clipping Masks-containing the strokes in a previously defined area. There are a lot of objects in our scene, and each of them will have to be colored and shaded separately. I ignored some objects to limit the number of surfaces to paint. And tracing gives us a clean piece of line art, without any mistakes that could lead to confusion in the later steps. It would be a waste of time to copy all the lines when all we want to learn is coloring and shading. Normally, tracing isn't a proper way to create art, but today we're studying painting, not drawing. Use the Pencil or the Inking Pen to draw the lines. Open your reference in Sketchbook Pro, lower its Opacity a little, and create a new layer. If not, read this quick tutorial first:įirst, we need some kind of line art. I will assume you know your way around the interface of Sketchbook Pro.
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This isn't the most efficient way of painting from a reference, but it really helps understand how the image is created, so you can get full control over it-which is especially useful for painting from imagination. The maps I'll be using are shape, ambient occlusion, color, shadow, and shine. All the maps affect each other, adding to the final look of the object. Each light effect is painted separately in the form of a "map". The method I will be using is based on 3D modeling.
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You may already have most of them, but to make the whole process more convenient, I've collected them in a set that you can download and pin to the palette.
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I'll be using the desktop version with brushes from various free brush sets (Basic, Texture, Fur Brushes, Textured Watercolors). Of course, you'll need Sketchbook Pro as well.
You can also limit the whole scene to one or two pieces of fruit, to make it all easier. However, feel free to use any other reference you find fitting-the instructions will be universal. I'm going to use Various Fresh Fruit from Envato Elements-fruit is a perfect subject for study, because it has a variety of colors, materials, and textures. It must be big enough to see all the details. We need a high-quality photo reference for this study. In this tutorial, I will show you how to create such a study in Sketchbook Pro, and how to learn from it in the process. Photorealistic paintings are impressive, but they're also very valuable for artists for one special reason: by painting one, you learn what reality looks like, so that you can later paint unreal things-people, creatures, and places that don't exist-as if they were real.