art: a thing that I've had uploaded for months but forgot to post.
So way back when I posted this image, deconcentrate asked me how I shaded it, and I said that I'd do a step-by-step example. And I did! And I uploaded it! ...in September. Somehow I forgot to actually post it in, you know, my livejournal until now. Sorry, Todd.
So! Gradient-based shading in Photoshop in eight steps. For the sake of the tutorial I'm assuming that you have a basic grip of photoshop, and know about layers and at least what the gradient tool is.
1.
So at the point I'm starting, I have three layers: the lineart, flat color on the figure, and a layer of flat color for the background. Some people like to have each color on a different layer, but for this technique I don't find it's necessary. If you have a more complicated background you'll probably want at least another layer for objects in it, but you get the idea.
2.
Next you decide on the direction of your light source. I went with lower right corner, and used a darker green to indicate the shadow of the room in general. You can see what it looks like in the background layer, because apparently I didn't think it warranted a step all on its own.
Then I started on the shading. I have two layers of shading at this point: the shading on the figure, and the shading on the background. Note that the shading levels are set on normal, not multiply. This allows more control over the precise colors. I usually do the shading with the paintbrush tool, but any method of flat shading is fine.
A note on choosing colors: take into account the surroundings and that the shading makes sense in it- that's why it's important to have at least the basic color of your background down first, so you can see how the colors look against it. I probably could have pushed the colors farther in this, actually. The light on her face would probably be harsher, the shadows darker and a little... maybe greener, although maybe not.
3.
Using the selection tool, select an area of shading. Have the layer set to "preserve transparency"- that way, if you select outside the shading area, it won't affect anywhere that isn't colored.
4.
Open the options on the graphics tool. Set it to "foreground to transparent". Choose the foreground color- here, I just chose the color of the unshaded area (in this case, Babs' unshaded skin) but in different lighting you may want to choose something else, and if I'd gone for more extreme colors, I might have. Then, you apply the gradient to the selected area. In the above image, I applied the gradient from left to right, so you have this:
lighter shadow <-- shadow <-- unshadowed area <-- light source. Because of reflected light, the side of an object away from the light isn't usually the darkest. There's the lit area, then a darker 'core shadow' and then a shadow that's lighter than the core shadow, but darker than the lit area. In extreme light, the difference between the light - dark - light shadow is going to be more extreme. In well lit areas, shadows will be lighter and so the affect of reflected light won't be as noticeable.
You'll probably have to apply, undo, and reapply it before you get it right.
You can see how I apply that to the rest of the figure here:
5.
You can, of course, use the gradient the other way around. With this method, you get shadows with really sharp edges, which works well in more stylized, simplified drawings with strong lineart, like this. Although you will have some strong edges in more realistic drawings, you'll also have shadows that transition gradually into the core shadow and then gradually into reflected light, and then you'd apply a gradient in the direction of the light source, instead of against it. A lot of comics use this technique. I find it kind of a pain in the ass, though, so I can't really give you tips on that.
If this were an image set in full daylight, I'd probably stop here, but I decided to mess with the atmosphere a little.
6.
I decided I wanted a bright greenish backlight. I guess she's next to a Lazarus pit or something. New layer and another gradient, this time from the other side.
7.
Then I set the layer on "overlay," but different settings might work better in different images. Fiddle around. I also adjusted the opacity until I liked the result.
8.
Backlighting! I love backlighting. I tend to use it a bit too much, in situations where there wouldn't really be any, but hell. It's comics. If there's any genre where overdramatic lighting is appropriate, it's here. Just a thin line, brighter and more saturated than the main light source, against the back of the figure. You should probably use it more sparingly than I do here- for instance, in redoing this I'd go much thinner on the line on the arm, and about half as much on the hair. You can also use gradients on the backlighting itself, using similar technique as before. I usually go from the backlight color to either the main shadow color or the base color, but... this time I didn't.
So... there you go!
Questions? I hope my rambling explanations were more helpful than not.
So! Gradient-based shading in Photoshop in eight steps. For the sake of the tutorial I'm assuming that you have a basic grip of photoshop, and know about layers and at least what the gradient tool is.
1.
So at the point I'm starting, I have three layers: the lineart, flat color on the figure, and a layer of flat color for the background. Some people like to have each color on a different layer, but for this technique I don't find it's necessary. If you have a more complicated background you'll probably want at least another layer for objects in it, but you get the idea.
2.
Next you decide on the direction of your light source. I went with lower right corner, and used a darker green to indicate the shadow of the room in general. You can see what it looks like in the background layer, because apparently I didn't think it warranted a step all on its own.
Then I started on the shading. I have two layers of shading at this point: the shading on the figure, and the shading on the background. Note that the shading levels are set on normal, not multiply. This allows more control over the precise colors. I usually do the shading with the paintbrush tool, but any method of flat shading is fine.
A note on choosing colors: take into account the surroundings and that the shading makes sense in it- that's why it's important to have at least the basic color of your background down first, so you can see how the colors look against it. I probably could have pushed the colors farther in this, actually. The light on her face would probably be harsher, the shadows darker and a little... maybe greener, although maybe not.
3.
Using the selection tool, select an area of shading. Have the layer set to "preserve transparency"- that way, if you select outside the shading area, it won't affect anywhere that isn't colored.
4.
Open the options on the graphics tool. Set it to "foreground to transparent". Choose the foreground color- here, I just chose the color of the unshaded area (in this case, Babs' unshaded skin) but in different lighting you may want to choose something else, and if I'd gone for more extreme colors, I might have. Then, you apply the gradient to the selected area. In the above image, I applied the gradient from left to right, so you have this:
lighter shadow <-- shadow <-- unshadowed area <-- light source. Because of reflected light, the side of an object away from the light isn't usually the darkest. There's the lit area, then a darker 'core shadow' and then a shadow that's lighter than the core shadow, but darker than the lit area. In extreme light, the difference between the light - dark - light shadow is going to be more extreme. In well lit areas, shadows will be lighter and so the affect of reflected light won't be as noticeable.
You'll probably have to apply, undo, and reapply it before you get it right.
You can see how I apply that to the rest of the figure here:
5.
You can, of course, use the gradient the other way around. With this method, you get shadows with really sharp edges, which works well in more stylized, simplified drawings with strong lineart, like this. Although you will have some strong edges in more realistic drawings, you'll also have shadows that transition gradually into the core shadow and then gradually into reflected light, and then you'd apply a gradient in the direction of the light source, instead of against it. A lot of comics use this technique. I find it kind of a pain in the ass, though, so I can't really give you tips on that.
If this were an image set in full daylight, I'd probably stop here, but I decided to mess with the atmosphere a little.
6.
I decided I wanted a bright greenish backlight. I guess she's next to a Lazarus pit or something. New layer and another gradient, this time from the other side.
7.
Then I set the layer on "overlay," but different settings might work better in different images. Fiddle around. I also adjusted the opacity until I liked the result.
8.
Backlighting! I love backlighting. I tend to use it a bit too much, in situations where there wouldn't really be any, but hell. It's comics. If there's any genre where overdramatic lighting is appropriate, it's here. Just a thin line, brighter and more saturated than the main light source, against the back of the figure. You should probably use it more sparingly than I do here- for instance, in redoing this I'd go much thinner on the line on the arm, and about half as much on the hair. You can also use gradients on the backlighting itself, using similar technique as before. I usually go from the backlight color to either the main shadow color or the base color, but... this time I didn't.
So... there you go!
Questions? I hope my rambling explanations were more helpful than not.