Making Of 'Wake Up Baby'

First sketches and design

This is the part that I consider as most important in the process of creating an image.These are the first sketches and different variations of the same idea. I indepentantly developed each character design, and take the same dedication for each individual characters personality design (age: 25 ; name: Tina; enviroment where she lives: little industrial city; etc) and so for the story.

First drawings and lines cleaning

It can be noticed that I change the remote's design to make it less futuristic and more logic.

Colour, I consider as suitable the sketches' colour test and I create a multiplying layer over the line drawing. Over it, I have placed the sketch so that it is scaled to the final image's resolution. I used the sketch as a colour base and I started painting with colour stains.

I eliminated the T-shirt's lines, in order to get a better definition of the clothe's wrinkles and shape. I then created the lighting effects of the the robot's focus in two layers: linear dodge for the most luminous part and colour dodge for the most stumped part. I then created a multiplying layer, where I paint the T-shirt Lines.

I then earsed the layer containing the T-shirt's lines. I am just not convinced about it, as the wrinkles' volume get lost (fortunately, it was made on an independent layer). We have already got a good colour base . . . . . it's time to join the layers !

I joined the line drawing and the colour layers. Before doing that, I made a copy of the line drawing layer, in order to keep it as a refrence in case of the shapes being distorted while painting. Through the following steps, I will use the smudge tool for stumping the colour stains and eliminating the drawing line. On these steps, I will also paint directly for creating more shades and eliminating the drawing's black lines.

On this step, I have detailed the robot's smoke and I have finished the neck scarf. I have avoided the original translucence, as I consider the scarfs cloth is too thick and therefore is not a very clear back lighting.

Basically, Tina is already finished. There is only some final retouching to be done, it's time for finishing the background that I developed, the towers at the bottom and the warehouse elements. For the door, I first made
the door's drawing without any perspective and then I applied a distortion transformation, which adapts it to the compostion's perspective. The same process is used for the tiles. Making a comparison with the previous image,
the effect of the lighting layers can know be noticed.

I then painted an added the detail to the floor area, with the puddles and mud. It is an almost unappreciated zone, which really does not stand out because of the dark colour tones, how ever it is probably one of the most complicated parts of this image. I have also detailed the bushes growing close to the little wall. Anothe part of the image really difficult to appreciate, with such hard work on the detailing.

It is time for detailing and polishing Baby! I used the smudge tool for refining the shapes and then I painted and added details with the normal brush, without adjusting the size by means of pressure. I the painted the panes of glass of the lower part of the warehouse, as well. For painting the warehouse's shapes I used the polgon lasso tool, taking the line drawing layer as a reference.

I then finished by detailing the upper windows. It's know time to touch heaven! For obtaining the irregular and blurred shape of the clouds I used the smudge tool yet again with a irregualr brush and the following parameters. It is really pleasant and easy improvising and changing the cloud's and the smoke's shape.
After some general retouching (some details on the gloves, etc.) we are ready to say . . .


This is the last step. I am going to apply a special noise that irregualarly affects to the whole illustration of the image, giving it an incredible aspect, much warmer and pictoric . . .
But this is just a secret . . . ;-)


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