swfchan: mifmaf_bunny_tutorial.swf (info)

Text

Stage 1:
After inking the image, either digitally
or by hand, assign clear color areas
for every color separation on the
design.
Each color is assigned its own layer
and has an accurate size relative to
the outlines. To do this create a
selection within the interior of the
area you want to color using the
magic wand tool. Then expand the
selection by 1-3 pixels depending on
the resolution. This is done to prevent
white artifacting when filling the
areas. When filling in the colors
ensure that you are not doing so on
the layer that contains the lineart.
I personally prefer Adobe Photoshop
for its robust selection abilities when
doing this stage, although painter is
likely capable of doing the same.

By: Mif_Maf

Stage 2:
Now I've gone and made a few
changes. First I lightened the BG and I
also hid the color layers. I'll be
referring back to them as color
references and selection sets as I
progress. I've also gone ahead and
done some rough colouring on the
shirt. For now thought I'll be focusing
on the medium fur color.
I start by scribbling in the area with a
mid-tone, in this case I've actually
placed the midtone where it would be
most visible as well. However I will go
ahead and color in the fur completely
with the one color. At this point it's
important to understand why I've
chosen not to use the fill command to
paint these areas. By using actual
brush strokes I leave some parts
slightly less opaque than others. As a
result the BG color appears to mix
smoothly with the character's colors
and it won't look like they've just been
pasted in.

Stage 3:
I've now blocked in the mid-tone,
mid-shadow, light-tone and
highlight. Everything is still very loose
and blocky but the colors now need to
define the forms. In some cases I've
placed cast shadows (under her arm,
on her left arm, etc.). Cast shadows
are great for defining a shape
because you can simply map them
over the curvature.
When adding the lighting it's
important to remember that light will
frequently create a "hot-spot" on a
surface. This is essentially the core of
the light and the surface it strikes
should be thought of as a mirror. The
more define the hot-spot the more
shiny the surface will appear. In this
case I've made her rather shiny. This
level is good for wet skin, diffuse
plastics and for longer/oily fur.
Note: I like the gouache tool for
painting like this.

Stage 4:
Now comes the part where Painter
really shines: Blending. Photoshop
simply can't compete in this regard.
In order to make the surfaces feel
softer, rounder and more natural it's
necessary to blend the colors. You
should not just go about randomly
blending everything together because
you'll end up with a flat mess. Instead
move your brush as though you are
actually moving across the surface of
the 3d character. Painter will preserve
the brush strokes and give you a real
nice feel to even the slightest stroke of
the brush.
Some areas however need much less
blending than others. A cast shadow
for example will have a significantly
less blurry edge than an ambient
shadow. Always keep in mind the
direction of the light and where the
raised surfaces are. Less blur towards
sharp surface changes and more blur
further away.

Stage 5:
Keeping track of anatomy is just as
important in coloring as it is in the
drawing stage. Remember where the
muscles and bones protrude and the
fact that a character or creature will
often have body fat or in this case fur.
In this case the fur is so short that I've
pretty well ignored it in favor of
extra mass which I treat more like fat
thand fur. Bones will jut out and
create harsher shadows and lines on
the figure and they are integral to a
believable picture.
In order to make parts of the figure
appear round you'll need to exploit
something called reflected light.
Remember that anything that is not
pure black will reflect light onto
adjacent surfaces. The easiest way to
do this is to use the 'edge-lighting'
technique while still keeping in mind
the idea of hot-spots.

Stage 6:
Ambient light colors; these are the key
to believable shading. Organic forms
will never have shadows that are
simply darker colors. The shadows are
always a result of the light color and
the surface color. However in the case
of organic forms such as skin, fur and
plants we also have to keep in mind
the translucency. It's the refraction and
bending of light within the translucent
membrane of skin or surface of hair
that creates the conditions that result
in color compliments forming within the
shadows. If you look at your own hand
you'll notice that the shadows aren't
black in your average lighting
conditions and especially in daylight.
Instead you'll see that they are either
green or blue. In the case of the
bunny here I've used a purplish blue.
The BG is purple, the highlights are
white and hir fur is near orange so
the compliment needs to be in their
combined spectrum.

Stage 7:
Blending the colors is quite easy in
painter so just use the techniques
described earlier when blending in
the blueish color. It should be noted
that the secondary shadow color that
was just added will only be pure if
the character is in colored light and
not white or daylight.
Keep the secondary shadow color
within the primary, if it mixes with the
mid-tone you'll end up with a
flattened appearance as the
curvature will appear to dip there.

Stage 8:
Now I've gone in and assigned a
tertiary shadow color. The only
difference with the previous color is
that it is more saturated and darker.
It's still selected based on the same
parameters as the secondary color.
Because of Painter's blending tools we
can simply add small swatches of
color where it would be most intense.
These shadows are still obeying the
idea of reflected light and won't
come in contact with the edge but will
instead form one side of the
secondary shadow. This is called the
"core shadow" and it's used to
finalize the forms and lightings.
Reserve core shadows for the last step
and only for areas that are in the
most intense darkness.

Stage 9:
At this point you can really see what
an effect that extra step of adding
the core shadows can have on the
surface of an image. The kneecap is
especially pronounced now as is the
tibia and the connection between the
the thigh and calf.
I've also added a bit under the visible
ankle to really pop it out.

Stage 10:
Now we simply add the light colored
areas. The significance of coloring in
the entire figure becomes apparent at
this stage because you'll see that the
lighter color fur blends in more
smoothly with the brown used on the
rest of the bunny because it has the
opportunity to mix with the new
lighter color.
Because this is a lighter color the
shadows will contain more of the
complimentary color we made
previously simply because the light
color reflects light better. This results
in it picking up more ambient colors
and not adding as much of it's own to
the mix. In the belly area I've not
added the blue but used the brown to
add a shadow area because it's
between two reflective sources and
thus won't receive as much ambient
color and instead have a reflected
shadow.

Stage 11:
Now for the first time I'm going to
add some white to the image. Pure
black adn white should only be used
sparingly in an image because they're
the extreme ends of the spectrum. If
the white parts of the bunny were
pure white there would be no range
to add highlight to. Even then white
needs to be used sparingly and
primarily in hotspots.
After adding the highlights it becomes
a simple matter of just going through
the motions and blending according to
the curvature. If you use a smaller
brush for the blending you will have a
more fibours effect and that makes it
great for fur and hair.

Stage 12:
The dark colors are now added and
since they don't intersect any areas
with the complimentary color it's use
isn't necessary. Generally the darker
a surface the less ambient colors it will
pick up but this can be offset by high
reflectivity.
In reality it receives just as much color
but we simply can't see it as well
because the surface is darker and
simply hides it.
I've also added some of the core
color to the belly and other areas as
well.

Stage 13:
Just a quick blend of the dark areas
to show some nice surface changes
and we move on to the next stage.
Shi's got a bit of squishiness now
too.

Stage 14:
Now comes the usefulness of that
large color area created for the fur.
By simply selecting its transparency
and inverting the selection we can get
rid of all that extra bleed that was
created during the painting process.
It's much quicker than manually
erasing and it leaves no bits of
residue on the outside lines. The
downside with this method though is
that if you didnt tweak the selection
set you won't have anything under the
lines and thus won't be able to
remove them without having to
redraw quite a bit.
I've also added some reflected color
from the fur to areas of the shirt to
blend it in better.

Stage 15:
Just a quick blend of the shirt ensuring
circular motions to give the breasts a
nice round look to them.

Stage 16:
Reactivating the hair color layers so
I've got something to work with. At this
point I can simply lock their
transparency and just work directly on
the colors I've already placed. You
may be wondering why I didn't just do
that with the fur. The reason I chose to
leave the edges open was so that I
could freely move color in and out of
that layer and thus both compare the
fur to the BG and draw in some BG
color into the fur.

Stage 17:
New colors need to be made for the
hair in order to provide highlights.
Because highlights are not dependant
on ambient colors we can simply
lighten the previous color. However
because this is hair and thus
significantly more reflective than the
previous surfaces we'll need to add
some reflected color to the highlight.
Thus the resulting highlight color will
be a a lighter purplish variant of the
existing color.

Stage 18:
I've blended the secondary highlight
to match the curvature of the hair and
have now added the primary
highlight. This is just a significantly
lighter color with the same properties
as the previous one. The contrast
should be very high with this color
because we're dealing with a very
shiny and smooth surface.

Stage 19:
I've now blended the primary
highlight color to match the same
direction as the secondary. You can
really see the effect of a smaller
brush on the hair. If you want more
realistic hair you'd need a much
smaller brush than the one I've used or
even one that has bristles.
I've also added the shadows to the
hair, same rules apply to these
shadows as to all the others used.
Keep in mind that the hair is three
dimensional and that any strands and
offshoots need to be treated as 3d
shapes.

Stage 20:
Time for some finesse. I've now added
a little definition to hir muzzle,
blended the cast shadow from the
overlapping hair and finished up the
toes by bringing some color in from
the bg.

Stage 21:
Now for any shadows I've missed in
previous stages. Once again I'm using
the same secondary and core
shadows.
I also noticed an anatomical issue
with hir arm. I posed my own arm in
that direction and noticed that the
rotation on this image was incorrect. A
quick change and now the muscles are
in the correct positions.

Stage 22:
Reactivating the remaining color
layers. The bands and jewelry are
metallic so they reflect the bg
perfectly so their existing color is
exactly what will be need as a base
color.

Stage 23:
Remember that the more shiny a
surface the harsher the contrast
between light and dark. The highlight
intensity will also increase as well as
the reflection of the environment.
Because I've used blues to add
shadows it stands to reason that shi is
in daylight so I'm adding some sky
blues to the metals.
The coloring effect of the eyeshadow
is simply a layer blending effect in
photoshop. Just flip through them until
you find one that gives you a good
effect.
Also remember the shade the
eyeballs, it makes a big difference.

Stage 24:
Finishing touches. To get this visual
effect I created a greyish overlay
and then set it to vivid light in Adobe
photoshop.

Play:
Watch the progression.
Use the green arrow to restart, or the
red arrow to go back to the previous
stage.

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