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Decoy
In this tutorial Peter Nagy shows us how he made his work “Decoy”. He will try to describe the method that he followed from the sketch till the fully detailed phaseWelcome to my “Decoy” tutorial. I will tell you how I painted this image.I will try to describe the method that I followed from the sketch till the fully detailed phase. I used simple brushes, nothing unusual.
I hope these steps will help you a lot and will give some inspiration to express your own imagination.
As I remember I wanted to paint a bittersweet story about an innocent girl and an anglerfish. I imagined a night scene where everything was cold and blue except the shines from the cottage.I did not want true 3d effect, instead I wanted something like a side view with low horizon line. This is important for this
conception because I think this way it became much more effective. The main character is a fragile girl and there’s also a fragile cottage. The other character is an anglerfish that will catch the girl… or not.
First I created a quick sketch about the cottage, then the girl and the fish. I love square format, I think it is one of the most powerful ratios to compose my picture.To get started I usually use lower resolution for the canvas. It is gorgeous to sketch quickly and turn it bigger afterwards.In the sketch I used dark blue color for the background in one layer and drew the sketch in the other one.
In the next step I changed the resolution. To tell you the truth whenI drew this picture I did not have very strong hardware. So unfortunately I had to choose 1500x1500px 300 dpi. I defined the main colors that I wanted to use. I filled the cottage, the fish and the girl’s skirt and shirt too. The water level equals the horizon level. In this step there were three layers. The background layer, the color fill layer and the resized sketch layer in the top.
I wanted something bright in the top right corner of the picture so I started to paint the shadows under the roof and joint of the boards first. It was a simple hard brush.
I repainted the boards to brighter blue because it’s a night scene. There were also three layers.
In this period I painted warm lights which appeared from inside of the cottage because it is a really tumble-down cottage. I used yellow and orange shines. The blue and warm yellow are complementary colors. This contrast makes the scene more impressive.
In the top edge of the roof I painted bright blue colors. It became a little bit wet and metal shiny. In addition I built the boards with more detail colors.
This was an interesting part of the painting. I didn’t really like the anglerfish. It made me feel strange. I didn’t like the eyes and the teeth, so I sketched a few other ones. I think the middle one was the best: the blind eye, smaller sharp tooth and the transparent skin with the ribs and utricle. It was the most formidable.
In these steps I used more layers to create the transparent skin.One for the skin, one for the ribs and eye. I often used the dodge tool with highlights range. It is a good method when we want a surface to have a wet look such as teeth.
his is a relevant step too because I erased (actually hid) the top sketch layer and started to erase the boards’ shape’s contour and created a layer to use a low opacity brush. It was needed for the soft purple and blue colors. To me, low opacity means 4-6 percent brush.
To the wood board looks I picked a bit brighter blue brush with 90-90 percent hardness, and darker for the shades.
I wanted to see the underwater scene. I created a new layer for the water and painted it as transparency color gradient.
With simple brush I created the seaweed used two colors.
In this picture I would like to show how I painted the chromatic aberration.
I duplicated the cottage layer and cropped it at the water top level, then duplicated it again. I played with curves and moved the layer only one pixel. The seaweed was painted with a small 90 percent hardness brush.
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I simply chose the red channel in curves and defined an arched shape.
Like I said before, the conception was an innocent girl. I wanted a fragile and feminine pose similar to secessionist paintings. We can not see her eyes just imagine her face. She is interested in the bright “bird”. And the big question is: what will happen to the girl?
In the last step I painted the moonlight and some volumetric light from the cottage with glittering dust.
I always love painting the shines. This is the favorite part in all my pictures. If I wanted to show the feeling of my scenes I would definitely use glowing volumetric shine. Finally, I used two effects. I didn’t want the clear colours to seem too perfect because it would have made them unreal so they needed 0,2 percent noise and 30 percent smart sharpen with 1,0 pixel radius.
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