Preserved Topic: Hey Dark Garden...

Do you think you could hook the asylum up with the psd to the eye sig you made? I would have e-mailed this but im sure some other asylumates would love to get their hands on it as well.

I have a funny feeling that the PSD would be one or two layers of total hand-paintedness.

And he's got more than one eye sig.

Oh does he....

I just come here to agree with Krets and Warjournal

*Slaps both*

A sig should be here.....
But is not.

*fish slaps Wakkos* sheesh, where ya bean Wacko Wakkos? The Spanish Sun gettin to ya? I agree with Wakkos for the record ~Vp~

^---- what they said.

but ummm.. i'm rather newbieish. can i at least *see* this sig?

I agree with everyone who has agreed so far.


heh



: : pixelflo : :

ICQ:# 10237808

And now for a bit more of an answer.

InsIder: The PSDs for my eye sigs wouldn't be terribly helpful, since (as pointed out) they're a couple layers of hand painting over the original eyeball design. There were a ton of threads way back in the day about how to build a decent eyeball, but then what it comes down to, is airbrushing the details.

Sorry that it's not more help.

For Raptor though (they're old news now) but here ya go.







: : pixelflo : :

ICQ:# 10237808

Looks like you found a home, DG.

Nah, that was always "home" it just used to have a nice short name (salvagion.com) I just haven't felt like redirecting until I sort things out.

Hopefully that's sooner than later, but we'll see.


: : pixelflo : :

ICQ:# 10237808

that's a sweet site DG.


[This message has been edited by ChaoStar (edited 03-20-2002).]

Well could you still post a link? I know it may be most air brushing but I would still like to see where you added the brushing and such... Pretty Please???

Uh...to be honest InSiDeR, what you see is what you get...~L~

The original PSD is basically the same size, so you really won't get anything from it...

Nonetheless, here ya go. ~shrug~

You can see the paths I used to cut out around the eye shape in the eyelid, to create the pin, and to do the blood trickle the way I wanted. All the rest is brushed after using my original eyeball from way back.

Or a reasonable facsimile thereof with more painting.

Peter

: : pixelflo : :

ICQ:# 10237808

[This message has been edited by DarkGarden (edited 03-20-2002).]

Well this is what I have come up with so far...



Now I need to add some skin... Any tips for brushing?

Do you have any idea how much fun it is to move around the eye so it looks like it's looking around?
but dude the actual eyeball is huge...

Msg me
Aim: Krzyazz18

Krash: The actual eyeball in your head is huge too, compared to the opening of your eyelid and base

Nice since the placement in the orbit, behind the muscles around the eye keeps it from popping out of your head. heh Remember that the eyeball itself is a fully rounded sphere tangential to the orbit and the opening. In other words the amount you can look around, think of the size of that puppy compared to the opening when relaxed.

Nice eye insider,,,but the radians suck so far. Don't try and filterize things and texture them with lighting effects...that wasn't done here at all. Brushing is brushing. Some cheating is done on the actual eyeball I used (selections filled and blurred etc.) but the lion's share is hand work after that.

Tips on brushing? Yeah, choose your brushes wisely, start with hard edged brushes, paint carefully (and in greyscale will be easier than how I went...use color layers to change the colour later) and good luck.

Keep going.

Oh, and for those paying a lot of attention...yeah, the eyeball is a bit bigger than it should be...a bit..~GRIN~


: : pixelflo : :

ICQ:# 10237808

[This message has been edited by DarkGarden (edited 03-21-2002).]

size is relative DG

~Vp~

So your saying you hand brushed the cornia too? Jeeze....

So, you're saying that you didn't read anything in this post?

Some *GOOD* tips going on here! Love it! Thanks for all those tips on air brushing. I'm trying to learn as well.

Later,
C:\


~Binary is best~

Actually the cornea is a *bit* of a cheat.

If you find our old threads on making eyeballs around here, I explain that the begining of the radians in the cornea can best be made by making vertical lines across the center of the canvas, and then running polar coordinates on them.

Draw your lines freehand so that's they're a bit wavy, and the resulting look should be roughly what you're going for. Now, layer layer layer...use blending modes and rotation to get exactly what you want over the base Iris colour, and voila.

Now cut it ou in your roughly circular shape (no eye is perfect) and there's your radian base.

Pupil is a smaller rough circle (or hand painted) with not quite hard edges. All the details get hand brushed, lighting tricks can help (tricks, NOT FILTERS!!!!!) such as the graded white "highlight" that I cut a chunk out of to look like a scene reflection.

Keep going...it'll come.


: : pixelflo : :

ICQ:# 10237808

I love all the technical stuff partticularly the concern for realism. I also use a lager spere when drawing eyes.

But have you ever noticced that with humans and also in most animals you will very rarely see the whole of the iris. Go and have a look in a mirror, the only way you can see it all at once is if you look like you been scared out of your wits......or in shock.

Hmm looks like difference clouds polar coords to me...

Hey DG, still waiting for that tut on brushing...told you I wouldn't let up on that.

mayb: That's exactly what I wanted with the eyes shown here. The fear aspect of the pin pushing into the eye was what I really wanted It's a great point though. People don't think about the opening in the orbit being as small as it really is in comparison to the eye itself and the iris

InSiDeR: Nope, no clouds used at all. Again, radians move away from the central pupil in strands, so "faking" those strands doesn't require clouds at all, just careful lines and the randomness of reality.

Shaman: What? Brushing? Never heard of the stuff.

heh

No tutorials...dear lord I'd be writing it for years. I've thought about it just to give people some tips and watch what amazing things they can do, but honestly, it'd be years in the making, and ever expanding. No good suh. I'll keep thinking about it though, or wait for Wead to type up something amazing for the folks at large

Craig Mullins has some great tips over at goodbrush though, and check the work at the sijun.com boards out as well. Great people with some good tips on their sites.



: : pixelflo : :

ICQ:# 10237808

Well, still won't stop pestering...but thanks for the links. Yeah, gotta start pestering Weads more, as well.

Hey, last time I stopped by your site, it seems that things are moving in your direction. Nice to hear some good news, for a change.

The Path of Thorns is still alive, and kicking. Keep up the good work. Can't speak for all, but it's a great inspiration for me.

Catch you on the wild side.

Wha?

The path is alive and kicking? (checks URL) No man, she's dead in the water...until I revamp anyway. Too busy for that these days, but we'll see. Hopefully soon, but then I seem to keep saying that Thanks for the well wishes anyway.



: : pixelflo : :

ICQ:# 10237808

I meant in my head. Salvignon is online, as you well know. I just thought I'd throw that in, you know I've been waiting for you to bring the Path back. I've heard that things have 'picked up' for you, so thought I'd sort of mention the Path...would love to see it online again.

Obviously I need to see a therapist. Swamped with work, and yet I did this for some reason. The piece only took ten minutes, but time was quite wasted doing captures of each step along the way.

It's rough, but let's see if this explains more than I could before. Two layers only, using just the marquee selection tool, and brushes.

Let's begin.
----------------------------------------------

[This message has been edited by DarkGarden (edited 03-22-2002).]

1) Make a circular selection on a Layer, fill with white. This is going to be the base of our eyeball, so consider your space well. Lock the transparency of the layer so that we can goof off with the shadings and not colour outside the lines



2) Let's pick a medium grey, and begin shading for a sphere. I decided on a top - left light source, so the shading is weighted away from that direction. Once the medium grey is brushed in place (soft brushes used here, and a medium opacity, around 50) pick a darker grey, and brush along the edge of the sphere to give more depth.




3) All righty, two more circular selections now. First for the Iris. Make the selection, and then colour in with whatever shade you want as a base. Try not to get too saturated, or the eye will look as if it glows, and it gets eerily unreal. I chose a low sat blue. Second selection is for the pupil. Look at the proportions, study photos...you'll get it after a while, and start understanding the reactions to light etc.




4) Pick a lighter shade than the base tone of the iris, and begin drawing tiny lines away from the center of the pupil, toward the edge of the iris. Don't cover over the pupil with the lines, but feel free to brush a bit inside it. It helps the realism to see the raidn lines interacting with the pupil. Use a hard brush, maybe a couple or 3 pixels diameter.

Pick a darker shade than the base tone, and brush around the edge of the iris (make a circular selection around the iris to mask the rest of the eye). Soft brush this time so that it blends with the other tones.

At this point I used white and a low opacity brush to start a highlight on the iris in the top left, reflecting the angle of the light. This is the first step to making the light interaction seem moderately real on the eye.

5) Now, one pixel hard brush using white. Paint in more squiggling radians overtop of the light blue ones already made. The fluctuations in tones and sharpness will give that "randomness" I'm always babbling about. Remember to keep them radiating out from the center of the pupil to the edge of the iris.


Using white still, soft brush low opacity, brush in higher highlights. I like the look of a split reflection of intense light, so I used it again here. Now choose a hard brush, higher opacity, and brush in the shape of the highlight itself. Add in a refracted light in the bottom right, not nearly as intense as the reflected light, and we're cooking with gas.



6) Time for tone and veins. I go with a slight red hue on a low opacity soft brush. I use this to give the eyeball a more natural "blood" hue. Brush over the shaded areas blending the tone with the shade. I then took a small hard brush, and brushed in low opacity veins. Radiating from the outside toward the center, splitting, squiggly lines not too long or intense.



7) Our second Layer now comes into play. Paint in a skin tone leaving the "eye opening" clear, or fill the whole layer, and then erase where the eye opening will be. I dropped the opacity of the skin layer hear so I could see the eye underneath and start roughing out the basic lines of the eyelid, eyebrow etc. It also helped while I was refining the eye opening.



8) Well there are thos basic lines I was talking about. I chose a deeper tone of the flesh colour to brush in the line layouts for the skin. Not going too dark will help when I'm blending. I roughed in the eyebrow shape as well. Even though it won't be black in the end it helps to keep it dark to trick your eye into looking away from it while painting. The eyebrow is last for me. Detailing.



9) Softer brush, lower opacity, a tone midway between the base skin tone, and the line layout tone. I bursh in the curves of the skin contours. I make sure that I start looking at all the curves including the lips of skin above and below the eye. Keep your light source direction in mind through all of this to help you actualize the shades and highlights.

10) Speaking of highlights: Choose a lighter tone than the base skintone. Brush in (soft brush again) the areas where light will fall more intensely. We're still roughing it here, so no need for precision strokes yet.



11) Time to bring in some colour. Human skin is never flat...nor is it flat toned. I chose a red here to bring into the mix. The tones of the shadows etc. will always be determined by the colour of the light source mioxed with the shade of the flesh. I cheated here and stuck to white light, so the skin tone will be more peach/reddish. Brush in some shadows and spread out the colour variations.

I used a textured brush here. A standard PS spatter brush, with an increased spacing (around 15 or 20 %). This helps give the skin a bit of texture, and spread out the blending without using the dreaded over-soft brushes, or (shudder) smudge tool to do all your blends.



12) More colour. I used a lighter yellow-ish tone here to blend the highlights of the skin. The mixing colours will keep the variations well, and cause a bit more realistic recognition. Again, using hard spatter brushes for blends.



13) Well now we have shaded skin....and a GLARING WHITE EYEBALL!!! No good. Let's jump back to the eyeball Layer, and start adjusting some shadows to fit with the eye itself.

Since the light is from the top left, the shadows will fall to the bottom right. Let's make sure there's a nice shading right under the top lid to show the angle, and impression. After that shading toward the edges of the opening and spherical shading will help give depth and conncetion to the eye in the socket. I used red tones to blend with the skin, but then a deeper brown-grey to do the darker shades, keeping the eye from blurring and blending in too much. Again, hard spatter brush...it's very useful at times (other custom brushes will be more so, but for now stock brushes work).



14) Let's refine the highlights and shadows a bit. Touch up the tones and the blends with texture and soft brushes. Now, pick a hard brush, and a light cream tone. One pixel brush, and start brushing hairs into the eyebrows. This is the only step where the smudge tool does help. I used it to drag hairs out, and blend skin back into the eybrows. They're cheesy, but hey they work for now.

Make sure the hairs aren't too concentrated, and they don't go wild and overdone. Just enough to suggest hair is perfect..the rest people will imagine anyway.

I also added a bit more red hue at this point, just to shape a bit better with the colour. Low opacity soft brush this time just to have smooth blends.



And that's that for now.


Anyone that wants the two layer PSD (heh) can grab it HERE.

----------------------------------------------

The reason I've used texture brushes etc. in this is so that we stay away from that ugly "PS Airbrush" look that seems overly-smooth, blurry, and flat.

Realism has variance to it, and that randomness. Keep that in mind, and don't try to polish the little flaws, and you're good to go with this..for a start.

Now, hit it. Teach me something as well. I really hope it helps.

Oh, and Shaman, this had damned well better count in the "brush tutorial" category

Peter

*Saves page in hard drive, diskette, CD and ZIP*

I always appreciate the big time that spends DG writing these *very* useful tuts, mini-tuts, tips and everything.

Do you have a teacher soul or something like that?? =)

and, yeah, thanks!

Wrap it and send to GN. Been needing a painting tutorial. I'm sure it will zip through submission process. Just a thought.

DG, how would you like to do the eyes for me on Washu? Heh. I just couldn't resist.

Damn it, DG... I wasn't planning on doing any PS painting this weekend, but now... I JUST HAVE TO!

Thanks for taking the time to type all that up, and with pictures! This one's definitely a keeper. Though it may take even more time, you really should consider submitting it to GN.

Thanks again.



There are a lot of strange people in the world. I should know; I'm three of them...

Jesus Christ Dude...

You should be recognized as a very talented person!

I recognize him... there he is, in the Room with No Number...

I think someone who looked like Clint Eastwood used to have that room...

LOL Looks like Insider hasn't been around long enough. Or maybe he has. Yes, DG = very very good.

I don't mean to thread-jack, but I am curious. DG, do you ever get tired of people asking things like, "Why are you a bouncer? Why don't you get a real job doing graphic stuff?" While people don't ask me why don't I get a job doing graphics, I am constantly bombareded with similiar questions that align with my hobbies and other interests. Jeez, I just want to smack people sometimes.

"Do you speak Spanish?" ~glare~ :smack: "What was that for?" Ah... a question I'm willing to answer verbally. Know what I mean?



[This message has been edited by warjournal (edited 03-22-2002).]

hehe, yeah, I've got the entire page on my HD too. Thanks again, DG.

thanks DG.

I saw a web site of you that had to do with comic book stuff. I lost my bookmarks so I don't have it anymore. Care to give me that one if you know what I am talking about.

Later,
C:\


~Binary is best~

Yea I have been around long enough wj , ever since I saw dg's metal GN logo I knew he was goooood.........

well... sorry you could not hear my "ooh's and Ahhh's" heh... It is alway enlightening to see how some one else works.

oh, and dont go see a therapist. They will just take your money.

So... um... *cough* I always have a hard time gettin noses to shape up right... *hint*

. . .

exllent mini tut DG

thanks mucho for sharing and taking the time. Some of us are here are still absorbing

regards ~Vp~

Izzy: Remind me to smack you

(I'll see about dropping some tips on noses though when I can.)

wj: I think I get more tired of asking myself that question. To be honest I DO work in graphics. I freelance logo design, illustration, and all sectors of graphic design. It is a living, but yeah, I often wonder about working for a nice design firm...but sans that piece of paper from anyone saying it's what I took in school, it gets tough

Also, I enjoy bouncing, so it's something I'd do regardless. It's not my "main" job now, so I'd not stop.

vogon et al.: I'm glad people are enjoying this. It's really fast and dirty. If people spend a good deal of time with the techniques, creating brushes, using colour blocking etc. then they can make phenomenal pieces.

I really do want to see what comes from this, especially from you Dave. Your work has been really impressing me.



: : pixelflo : :

ICQ:# 10237808

Overall I am fairly happy with the concept DG and have grasp of whats needed, however, I need too spend alot more time on the details. I am going to keep working on this though. I find myself using the smudge tool alot at a medium pressure, which isnt mentioned. Is smudging a valid tool for this ?

One thing I havent had the guts to do yet, is give up on the use of multiple layers. I am too worried to make one mistake that destroys a lot of hard work ! heh


Things I am not satisfied with:

1. eyebrow, bad shape, needs to blend in better

2. general shape of the skin area and eye lids

3. lack of details/texture (I cheated here by slapping on a layer of gray noise, low opacity)

........still working.......... ~Vp~

::edit:: removed sig

[This message has been edited by vogonpoet (edited 03-23-2002).]

You sound like my wife, DG. She loves cooking, but she wants to do it on her own terms. Which is good for me, because if she had a job cooking, she wouldn't do it when she got home.

One of these days I'll show more of what I've been up to along these lines. I don't get the bug too often, so my progress is a bit slow. That Washu pic is one I've been playing with lately, but that one is one of the older versions.

Brushes! I keep forgetting about Faux Finish and Natural brushes. Not the greatest, but they'll do since I'm too lazy to make my own. Or maybe I'll just load them in and leave 'em there. One of these days. One of these days.

I'm done rambling.