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    Christian Lorenz Scheurer: The Techniques of

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    Christian Lorenz Scheurer: The Techniques of

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    Lecture Notes

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    Christian Lorenz Scheurer: The Techniques of

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    © All Rights Reserved
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    The Techniques of Christian Lorenz Scheurer

    Introduction to Digital Painting in Adobe Photoshop®

    EXERCISE ONE : BIG SUR - SCOTLAND


    1. VALUE PERSPECTIVE
    2. COLOR PERSPECTIVE
    3. LINEAR PERSPECTIVE

    EXERCISE TWO: HONOLU LU HARBOR - SPACE PORT


    4. PAINTING SHAPE
    5. HOW TO TURN LAYERS INTO SELECTIONS
    6. QUICK MASK AND LASSO

    EXERCISE THREE : TOKYO SKYLINE - DESTROYED CITY


    7. SEPARATE THE OPTICAL PLANES
    8. IMPORT TEXTURES
    9. LIGHTING

    ALL CONTENTS COPYRIGHT © THE GNOMON WORKSHOP AND DESIGN STUDIO PRESS
    ALL CONTENTS COPYRIGHT © THE GNOMON WORKSHOP AND DESIGN STUDIO PRESS

    EXERCISE ONE: BIG SUR - SCOTLAND


    1. VALUE PERSPECTIVE
    It is imperative to understand the importance of dark and light values in painting. The darkest and bright-
    est values are always closest to the viewer. As we look toward the horizon, the difference between dark
    and light values decreases. Use the photographic plate as a marker, and as support to create paint ele-
    ments with correct values. Try to discover under which circumstances the edges of paint elements col-
    lapse (buildings, mountains, etc.), thus creating a silhouette.

    2. COLOR PERSPECTIVE

    Air contains hydrogen, which is a blue gas. The further we gaze into the distance, the more hydrogen
    molecules stack behind each other. This gives the effect of bluing out to the back of a shot under neutral
    white light. As a rule of thumb, remember that the closer you are to the foreground, the warmer your
    color, and the closer to the horizon, the colder the colors.

    3. LINEAR PERSPECTIVE

    Last but not least, it is important to understand linear perspective. Find the horizon line on your base plate
    and introduce a perspective grid supporting your paint elements.

    EXERCISE TWO: HONOLULU HARBOR - SPACE PORT


    4. PAINTING SHAPE

    This quick exercise is all about shape. For many designers, it is hard to abandon the drawing aspect when
    starting to paint. In painting, it is often more productive to comprehend the shape of objects first, then
    apply value, color and linear perspective, and only then start to care about details.

    5. HOW TO TURN LAYERS INTO SELECTIONS

    Try to loosen up and paint extensions to the buildings with a 100% black brush. Because the buildings are
    in silhouette, it should be easy to extend them and create something new. Tip: Push Control (or the Apple
    key) and click the thumbnail in the layer box to turn its content into a selection. Push Control or Apple-H
    to hide the selection.

    6. QUICK MASK AND LASSO

    Use the Quick Mask tool to make a selection. Activate Quick Mask in your toolbox; paint in the finer details
    in Quick Mask mode. Push X to turn your brush into an eraser. Once the mask is turned into a selection,
    paint in values and colors with brushes or gradient tools. You can also create a selection by using the
    Lasso tool. Though not very precise, this tool is fast. Painting shapes with selections allows you to use
    generous brush strokes to paint. Selections also allow you to control colors, values and textures easily.

    THE TECHNIQUES OF CHRISTIAN LORENZ SCHEURER Introduction to Digital Painting in Adobe Photoshop®
    1
    ALL CONTENTS COPYRIGHT © THE GNOMON WORKSHOP AND DESIGN STUDIO PRESS

    EXERCISE THREE: TOKYO SKYLINE - DESTROYED CITY


    7. SEPARATE THE OPTICAL PLANES

    It is a good idea to paint your foreground, midground and background elements on separate layers. This
    will allow you to adjust your elements in color and values with the help of adjustment layers. Separating
    your optical planes also gives you an easy way to introduce mist or fog layers.

    8. IMPORT TEXTURES

    Once shape and value, color, and linear perspectives are under control, it is time to bring in textures. Us-
    ing your isolated shapes as selections, you can take full advantage of your large texture brushes. You can
    also import photographic textures and turn them into screen, multiply or luminosity layers.

    9. LIGHTING

    Create dodge and light layers behind interesting foreground shapes. You can easily import any photo-
    graphic representation of lights. Turn the imported light layer into a screen layer and adjust the layers
    with curves or levels.

    THE TECHNIQUES OF CHRISTIAN LORENZ SCHEURER Introduction to Digital Painting in Adobe Photoshop®
    2

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