How to Paint Conan with Photoshop CS4

Have you seen the 2011 Conan movie yet?  I'd like to.  (I say so, because obviously the title of this tutorial greatly obscures that fact for all but the most Sherlockian minds out there.) 

For this painting, I used a reference image from the movie, but I am not a professional artist.  In fact, I got brave enough to use color for the first time only about 6 months ago.  Mainly, I sketch portraits in graphite, which I have been doing for a couple of years.  You can see an example of a Stephen King sketch I did here.  Everything I know is self-taught from the Web. 

In addition to Photoshop, I am using a 6" Bamboo tablet and stylus.  I just don't have the dexterity to paint with a mouse.  A mouse works great for photo editing, creating vector images, and stealing cheddar, but most digital painters refuse to use anything but a stylus.

I usually start with a gray background.  There are a couple of reasons for this.  First, it allows me to say, "Look Honey, I started a painting!"  But also, since gray is neutral, it keeps the colors in the foreground from growing too bright or too dull, since a color looks different depending on the values surrounding it.  For example, put a yellow circle on an orange background and it will feel warm without being terribly dramatic.  Put the same yellow on a blue background, and the contrast will almost hurt your eyes.  

On a new layer above the gray, I draw a line.  The line is important, because, once it is done,  I immediately say, "Hey Honey, can you come back and tell me what you think so far?"  It also is the same color blue that real comic book artists use.  There is a part of my brain that thinks that is extremely cool.  And, it has these hairy looking tick marks growing out at specific intervals.  Actually, this is the vertical center line that goes down through the middle of the figure, helping me to see it in 3D.  The tick marks are evenly spaced, marking the brow, the nose, bottom of the chin, collar bones, rib cage, etc.

  See?

Remember two things throughout this tutorial:  Anything can be fixed.  And, you start simple, then keep adding layer upon layer until it looks dense and realistic.  The more detail, the more realistic it looks.  At first, expect a lot of color banding and for the image to look rough.

 

On a layer between the line drawing and the gray background, add color.  For the thrill seekers out there, you can pick whatever colors you want.  It doesn't matter.  In fact, it's fun to glob on something off-the-wall, like teal or chartreuse, and whenever someone walks by to stare, you tell them that it looks just like them. Usually, however, I look for medium skin and hair tones.  Some artists start with the brightest highlights or darkest shadows.  Go with whatever makes you feel most comfortable.  You'll end up at the same place.  Then use the line drawing to start adding some basic shading and highlights.  Don't try to be precise.  That comes later.  We are just pushing around color now.

Hiding the line drawing layer allows you to see that the painting already has begun to take form.  Turn it off or on periodically to keep your bearings, but you will soon see that you don't need it anymore.

At this point, all paintings should vaguely resemble Gene Simmons from Kiss.  I don't care if you are painting Gandhi or a 1971 Chevy Nova.  Trust me, all paintings will look like Gene Simmons at some point.

 

But then Gene will get lost in the details.

The fact that nothing in real life is a single color is probably one of the most complicated steps in painting.  Take Conan's hair for example.  It is supposed to be dark brown, maybe black.  But for it to look realistic, there are many colors in his hair.  I'm not talking about how people may have a few brown hairs, some blond, and a red or two in the same clump.  In this image are black, a dark brick red, beige, gray, white, and even purple (sometimes on the same strand).  In reality, highlights blending into shadow will create these effects, but also most objects reflect everything around them to one degree or another.  His hair is going to reflect his skin tone.  And vice versa.  This is part of what gives an object a 3D illusion.  Also, the lighter the highlight, the more shiny it is.  (His hair is slightly wet.) 

Don't stress over drawing each individual hair, either.  See sections as individual shapes with highlights and shading.  The same is true throughout the image, which is why you can turn it upside down and still paint it accurately.

Smoothing.  The colors may not be blending well yet, especially if you have been painting with the opacity set to 100%.  To eliminate the striping and make the different colors look like a continuous gradient, turn down the opacity of the brush.  The exact percentage will depend on the color combination.  Typically, I will set mine from 10%-15%.  If you are, for example, trying to shade with pure black, though, that might be too high.  You might have to turn it down to 2%-6%.  Experiment.  If it takes too many strokes to see the color show up, increase the opacity.

I try to render a section completely before moving to the next.  That's my personal preference. Different people paint different ways.  Just depends on the artist.  It is a good idea, however, when there are two similar objects, like the eyes, to paint them simultaneously.  Otherwise, your Conan might look like his plastic surgeon was having a bad day.

Zoom in on sections and try to paint everything in detail.  A piece of leather will be as distinctive as a fingerprint, and you should be just as meticulous with it as you are the face.  Some artists tell you not to waste your time with these details.  This is true when a deadline is involved.  But if you are painting without a time constraint, this attention to detail will make a difference.

The last step.  The background only took a few minutes.  I simply took all the colors that were in Conan and arranged them so that the lighter colors were closer to him and darkest fell near the edges.  Then, I used burgundy (which is the darkest shadow in the scarlet cloth at his waist) and made a glaze.  I created a blank layer above all the others and filled it with the burgundy, then turned the layer opacity down to 27%.

Near the middle of the painting, my son came into my office.  I expected him to say something along the lines, "Dad, that is really cool!"  He looked at my computer screen.  I waited.  Finally, he said, "The mouth isn't right." 

What? 

I had been working on it for about two days at this point.  I was crushed.  Then, I reminded myself that my son is six.  Also, he occasionally forgets to use eating utensils, even when foods practically scream for them, like macaroni and cheese or Jello.  This, of course, only made me feel a little better.

Over the next several days, however, I think I made a lot of people uncomfortable when they realized I was staring at their mouths.

The Amazon Current: Writing into the Sunset

If it is not imposing, I wonder whether I may ask about your experience publishing with Amazon.  Well, okay, to be completely honest, what keeps bouncing off my cerebral sidewalls is probably a little more involved than that, because I'm trying to figure something out about myself.  I always do that better on paper than in my head.  But it doesn't work unless I am actually writing to someone.    

I stopped writing.  It was a process that took about a dozen years.

During my early twenties, I wanted to be Stephen King when I grew up, and I kept steam by clutching onto two delusions.  I honestly believed this was a unique dream compared to his few million other fans.  Writing was fun but it involved many painful activities like forming original ideas and actually finishing stories.  Why would anyone want to do that?  Also, I told myself King's success highlighted the typical novelist's evolution, and that making a living writing was nothing like making a living trying to win the lottery.

My writing machine broke a little at a time.  Bits chipped away whenever I thought about -- and resisted answering -- whether I wanted to write or merely wanted to have written.  Then, it broke hard when I finally understood that magazines were not merely fading and midlist authors were not merely becoming extinct.  Almost everyone I knew seemed to enjoy saying, "I hate to read."  They said it with a smirk, because it was now something to be proud of, like perfect teeth.  The new attitude had grown from potential to ubiquitous.  It was here and spoiled and close enough to inhale. 

At that point, I stopped getting annoyed when friends called this a hobby.

Then came Kindle.  I bought one, paid too much, and didn't much like reading on it.  A few months later at Christmas, Amazon announced that Kindle was their best selling product of all time.  Really?  The consumer realizes this thing is for reading, right?  I read an article a couple of days ago that said not only are people reading more but also Amazon's ebook sales were out-performing hardcover sales.  Wow.  That means people are willing to fork over a month's subscription to Netflix just to own the copy of the data of a single book.  There is nothing to thump and smell musty.  Just words. 

Another report said that people were reading more.  Hmm.  Come to think of it, I have been seeing more paperbacks lying around in the break room at work, and on Facebook a whole bunch of my friends now list reading among their activities.  (I hope they have done so with pride and a smirk.)  I think it is more than that, though.  The new delivery system makes reading easier.  I know that whenever I am standing in line at the grocery store or sitting in the doctor's office, I pull out my iPhone and launch the Kindle app.  It's almost instinctive.  In fact, I feel uncomfortable if I don't. 

Today, riding the final leg of the orbit toward my 41st birthday, I have done two things.  I paid the $2.99 to download Stephen King's new novella "Mile 81" onto my Kindle.  Buying short, stand-alone fiction like this makes me wonder whether Amazon has created for new writers a new opportunity filling the space left by all the dead magazines.  The other thing is that I keep looking over all the unfinished purple prose I used to call My Writing.  My hands sit on my lap, fingers drum occasionally and always come to rest at the same angle they do over a keyboard.  Is there really a new appetite for books, something sustainable, do you think?  I feel like Fox Mulder concerning UFOs:  I want to believe.

Yes, of course, I am trying to talk myself into writing again.  I am afraid that there is just a good possibility that I'm wasting my time.  I hope that I am hearing a heartbeat, but the good news might in reality be driven by Stephen King and J.K. Rowling numbers.  The deck is already stacked in their favor.  Maybe the average writer's story, released into the wild, becomes just another bit in a database, an orphan whose creator occasionally looks in on it.

As I said, it doesn't work unless I am writing to someone.  Never has. 

Because then it is just a hobby.

So, have you tried to publish with Amazon?  If so, what was your experience? 

And, more importantly, would you be likely to download a short story or novel by an author you have never heard of?

Spare Time Compass

I have an extra day off from work today, because for some reason, when you resurface a parking lot in 112 degrees and 60% humidity, it doesn't dry overnight.  Go figure. 

So, this is what happens when somebody gives me some free time.

Everybody knows that I want to be Stephen King when I grow up.  ("Sam, tell us one more time, then, why you write a humor blog, and not something... I don't know, scary?")  One of the other things I want to be when I grow up is an artist.  Put a Michael Whelan or Boris Vallejo or Keith Parkinson or Xia Taptara or Feng Zhu work in front of me and my face will melt into a blissful expression that can usually only be recreated with dental anesthetics.

For a couple of years, I actually did quite a bit of graphic design for the casino where I work.  The comments from my superiors ran the gamut from, "That's freakin' classy," to "It looks like a freakin' X-ray."  Regardless of who said them, comments always seemed to involve the adjective freakin'.  I'm not sure why.

Over the past few months, I have been following various tutorials to find out what I don't know that I don't know about art and maybe drop the freakin' meter a couple of degrees.  Of course, I decided that this would a good opportunity to torture my kind readers with a few of my efforts.  Here is one of the results of an anatomy study (my apologies to those of you who have taken anatomy courses and can see how inaccurate this is):

This was done without a reference.  To me, it looks generic, less like a person and more like a mannequin.  For example, compare it to an unfinished sketch I did of Stephen King back in March, where I used a different technique called triangulation.  The reference was a photograph taken by King's wife Tabitha.

What do you think?  I take criticism well.  It's like when my wife slaps my leg.  Because I have had a back injury, I tell her, "Abuse me, I'm numb."  This, of course, is a really stupid thing to say, because if you have been reading this blog for any length of time, you'll know that she takes such comments as a challenge.

Norton 360 v5.0 WINNER!

The Winner of Norton 360 v 5.0 is...

JOURNEY HURST

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The Second St. Baxter

Have you heard of Fortunately, Unfortunately?  It is a game invented in the 1980s by the National Puzzlers’ League, and I thought it might be fun here to follow whatever zany directions the story might take.  Simply leave your creative additions as a comment, and allow at least one other person to respond before you comment again.  Write an entire paragraph or a single sentence, but just remember that each new paragraph must start with either “Fortunately” or “Unfortunately.” I’ll start the first couple to show you how it works, and then feel free to take it wherever you like.

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The Second St. Baxter

Emma was right – she was always right, dammit – which is why she ignored the Garmin GPS rattling in the cup holder of her candy apple red Ford Escape.  (She pronounced it “Excape” just to annoy Winston.)  

Fortunately, even though Winston complained for the last twelve hours that he had to pee, Emma’s spirits glowed with the bright thoughts of her new job as concierge of the St. Baxter hotel and casino.

Unfortunately, in spite of the GPS pleading with her at least sixteen times over the last couple of hours to turn left at the next exit, Emma trusted her sense of direction, which landed them exactly 106 miles south of their intended destination. They arrived, ironically, at another hotel named the St. Baxter.  Neither Emma nor Winston noticed.  Both thought it peculiar that there appeared to be no casino attached to the hotel, but they would find it even weirder later that night when they discovered that the hotel was infested with flesh-eating phantoms.  The first appeared when Emma opened the front door. The phantom appeared to be a human bellhop standing at least 6 feet, nine inches tall and presently leaping at her.