Hello! Welcome, I'm Foxvon with a new tutorial on how to paint landscapes. When we talk about nature we also talk about mathematics and the emotional and psychological implication of colors. When an illustration is made, in our mind we have a beautiful idea to capture, but when it comes to acting, the illustration we make does not captivate. Why is this so? The fault may be an incorrect composition, bad colors. These topics are the ones that will be addressed in this tutorial that will help them paint landscapes that catch the viewer.
If the horizon is in focus (which is normal for landscapes), it is a good idea to position it so that it crosses the photo at one-third or two-thirds of the height. In other words, it is not good for the line of sight to be in the middle of the photo, and it should move up and down based on your level of interest above or below the line of sight. To guide us in this direction we use the golden section or ...
• RULE OF THIRD PARTIES
The main object should not be placed in the middle, but should be offset from one of the corners. This solution is called the golden rule or simplified to the rule of thirds. According to this rule, we can divide the image into two thirds of the vertical and horizontal, and place the important elements where they intersect. Interceptions with the highest point of interest. The illustration seeks to align the elements on these center lines and at the intersection points.
In practice, the two-thirds rule is shown in the following illustration. The cactus and the pyramid are more or less at the intersections, in the center where the greatest focus of interest is.
Clip Studio has a section with Ruler tools that are very useful when creating perspective references.
Balance is influenced by size and position. Color can also play a very important role in image development. Remember that if you have a huge object on the right side, then something must be used to offset from the other side. Balancing is another quick way to check if your image is good or not. Make sure you don't put too much stuff on one side of the illustration.
• FRAMING THE LANDSCAPE
If the main subject of the image is far away, it is recommended to complement it. This is the moment of framing. It is enough to walk a few meters back, and you can also enter some areas around the main object, which are usually trees in nature. In the following example, I added trees that adorn the corner to the illustration, in this way only focuses attention in the center.
• LINES THAT GUIDE THE LOOK
All lines are a very important element in the landscape that is otherwise randomly arranged. From the point of view of composition, rivers, roads, furrows in the field, balanced mountain slopes or any geometric object you can imagine are interesting.
S-lines are made up of two or more turns and if they start from the edge of the illustration, which is very common, they guide the viewer's gaze from the edge to the end of the line. Of another type are the converging lines that generally extend to the horizon. Its convergence, and thus also its effect. As in the previous case, the viewer follows them automatically and his gaze slides to their intersection.
• REFLECTION ON THE WATER SURFACE
Illustrations with reflections on the surface of the water often break the first rule over the horizon in the first third of the height. This, in many cases, is placed in the center, which highlights the symmetry, since both halves of the photo, the upper and the lower, are very similar.
Each of the rules here is dedicated to a section, but this does not mean that they are mutually exclusive. For example, this last illustration of the reflection on the surface of the water can be easily combined with the framing, with which we get a different shot.
Harmony in colors
The expectation turns preferentially in the human mind and, from the point of view of color, we tend to expect to find a series of combinations that, innately, we like more than others. In this way, when a multitude of similar colors appear in the scene, we will feel more pleasant than when there is a confusing mixture of several disparate colors. When colors are complementary, they trigger psychophysical reactions in our visual system that make us perform them as an "exciting" combination; Finally, when the colors we use are balanced from an analogous point of view, they are pleasant. It should be clear that both in the case of complementary and analogues, the result is satisfactory for the viewer, not paying attention to color can give us an illustration that, although technically perfect, no, we know why.
• ANALOG COLORS
We will take into account the chromatic circle and we will quickly find that there are colors that are relatively similar around a secondary color, for example: orange, orange-yellow and orange-red. It is really important to value this constancy of color since, as they appear located in the chromatic circle, it can be the most common harmonious combination of colors in nature.
In short, the analogous colors are the neighbors in the chromatic circle, which have a common tone. This situation is very frequent in nature, much more than complementarity. If you want to use analog colors, you just have to follow a clockwise or anti-clockwise direction when choosing colors, as these are the consecutive colors to the starting point.
• COMPLEMENTARY COLORS
If we look at the chromatic circle and locate the primary colors, remember: in RGB they are red, green and blue, we will have to draw a line that crosses the center of the circle until we meet the color that is on the other side, it will always be a secondary one. Complementary colors provoke psychophysical reactions in humans through simultaneous contrast and successive contrast.
The successive contrast consists of the predisposition of our vision by which an exposure to a primary color induces us to perceive its complementary, this is not twisted, is it? an example: if we see a shape of a primary color, when we look away and look at a white surface we will see that shape in negative but in its complementary color, better, right? Simultaneous contrast is much easier.
• COLOR BALANCES
Colors harmonize better with each other when the area they occupy is inversely proportional to their brightness. To understand it better, we will say that a pure red and a pure green have the same relative brightness, so they must appear in a 1: 1 ratio in the scene, however, when combining other colors such as orange and blue they can complications arise, for this Goethe established a series of light values, relative brightness: yellow 9, orange 8, red and green 6, blue 4 and violet 3, in this way it can be much easier to establish what proportion to include of each one .
Various color combinations based on the relative brightness theory mentioned above are shown in this scheme. On the left an image in which red and green appear in equal proportions; in the center violet and yellow in inverse proportions to its brightness. On the right, a hypothetical case of a color combination inspired by a case that we could find when photographing: if we are on a tropical beach, during a storm, we find the green of the palm trees, the cyan of the water, the yellow of the sand and the gray of the clouds, would this be a balanced combination depending on the brightness?
Our role is to know how to tell a story with illustration. It is convenient to have it planned in advance, but we can decide when we start scribbling. We are not born with the lesson learned. But what nobody frees us from is knowing how to look and interpret the scene that unfolds before our eyes. It is the concept of visualization. And the success or failure of our drawing depends on it. The illustrator's mission is to transmit what he saw in his mind or reality. And to achieve this, you have to master the development or know how to explain what you want.
• COLOR CONTRAST
Use a color that contrasts with the predominant colors of the composition, it certainly attracts the viewer. The image below is a great example, if the leaves of the tree, the colorants of a color that highlight the color chosen by most of the elements of the background, a vibrant color, the result will be the eyes of the beholder at this point.
• DEPTH OF SIZE
Placing different sizes helps us focus an illustration. The small, medium and large shapes are parameters that we use to know how close or far an object is. The biggest things are the closest and the little ones are at a distance.
Clip Studio's warp tool is very versatile, not only do you have the option to reduce or increase the size, but you can also modify its structure and angle according to your desired perspective.
• BOKEH EFFECT
With the bockh effect we can achieve a visual effect with blur. When taking pictures, objects near the lens or far away can be blurred so that the main focus is on a particular object. You can do the same in your illustrations, this you can do with the blur tool that Clip Studio has. In particular "Gaussian Blur" is used to make this effect.
Clip Studio has different types of blur that can be found in the Filters section, the Gaussian Blur is the one that I use the most when it comes to blurring or creating the sensation of brightness.
• DRAWINGS OF THE ILLUSTRATION
Plans are the most important in building any scene. The plans help us to build the elements of the illustration in an orderly manner and in order of importance. For the closest plane in viewpoint, it is called Foreground; the second closest is called "Second plane" and the third farthest plane "Third plane". It may be more or less flat than these, but this simple structure is the most common and easy to display.
The differences in size, color and texture of the planes give the feeling of depth and distance. It is important to keep in mind on which depth plane the focus of attention will be drawn, so that in this way the planes before and after the center of interest guide you to it.
It is advisable to think in layers not only conceptually, but also when working with those layers that are contemplated in the drawing, physically separate them into separate drawing layers, this allows us to correct errors without the need to damage other parts of the illustration .
• ATMOSPHERIC PERSPECTIVE
The atmospheric perspective indicates how an object moves away from the viewer, when moving away we see this object with reduced clarity, value and saturation. Remote objects appear to be cooler in temperature. Basically, it looks like this. Foreground colors are very saturated and dark, while those that follow are in the background, lose saturation and become lighter.
The objects that are in the farthest part will have the color that corresponds to the atmosphere. As explained above, the farthest colors are clear and unsaturated, even a large part of the object can be lost in the background color.
Let's apply what we have learned
To begin we have to have an idea of what we consider a landscape, to support ourselves we can also make use of the references. References help us to understand reality so that, by knowing it, we can shape it to give the illustrations a variety.
When it comes to accommodating the elements of the landscape, I advise you to use the aura proportion, this is explained above, it guides our gaze in a balanced way. So, to make this illustration, take the idea of a meadow combined with a fantasy of a beautiful sunset. Arrange the elements of the trees and the whale that will be the central part of the illustration using the rule of thirds.
Later it will be determined where the light to illuminate the landscape will enter, this in order to give life and coherence to the lights and shadows. Similarly, determine what would be the colors that would bring the illustration to life. In this case analog colors.
Once everything that has to do with the concept of the drawing is finished, now is the moment of creation. Let's start with separating the drawing into layers and placing the base colors in each of them. In a matter of the sky, what I did was to place the corresponding colors in stripes with a hard brush and then mix and blur them.
Note: I leave below a previous tutorial where I explain in detail the behavior of the lights and shadows.
As a next step, place the lights and shadows, although, in terms of the shadows it was not very complicated because practically all the objects except the whale and the water, are against the light. The clouds were also placed with a brush that you can find in the Clip Studio store that was designed precisely for this function. In the same way, the plants in the foreground were painted and blurred with a Gaussian effect.
Now, in this part, place some details such as a small layer of grass in front of the plane of the cat that is at ground level and also some small bluish plant leaves on the bank of the river that is behind the aforementioned cat. I shaped the whale by placing a base blue color and later on a layer above in "Fit to lower layer" mode I placed the lights and shadows. The fins have colors similar to those of the sky so that it seems that it came out of the clouds.
Finally put a little light so that everything was not so dark. For that, what I did was create a new layer where with a pure white color and a hard brush I placed the stars and some fireflies floating above the water. I selected the fireflies with the "Selection" tool and duplicated them, in that new resulting layer I made a "Gaussian Blur" so that they had an aura of light around them. After that I duplicated the fireflies again and placed them on the water surface, then I lowered the opacity to the layer to make it look like they were a reflection. in water.
As a last modification, it makes the whale bigger and centers it to make it more striking.
Beyond technical perfection we find an ocean of possibilities that allow us, through the freedom of our sensitivity, to set new goals for illustration in general and the landscape genre in particular.
The ability to do something comes only from us. So, regardless of the result, do it, be it 1, 10, 100 or 1000 years, surely at some point you will get what you want from the heart.
Shake it up !!! We don't see another time (• ⌄ • ू) ✧
Well, with nothing to say Thank you for getting here! ପ (๑ • ̀ ुᴗ • ̀ु) * ॣ ৳৸ᵃᵑᵏ Ꮍ ৹੫ᵎ * ॣ