Drawing after Hue/Saturation adjustment. I also knock out the paper tone
using Levels (cmd-L): Click the white Eye Dropper on the paper tone.
I set drawing Layer's Blending Mode to Multiply (see Layer
Panel a few images below). Underneath that Layer I added
a scan of sienna oil paint over gessoed board (and
wiped-out to bring out brush strokes).
Shadow Layer, painted in a cool gray, Blending Mode set to
Multiply (which preserves texture of Layer underneath).
|Lighter areas created by painting a light color on a Layer|
with the Blending Mode set to Color Dodge.
|Local color painted on a top Layer with Blending Mode |
set to Color. This completes the "underpainting" part
of the process.
|This is the Layer set-up for the "underpainting." The Blending |
Modes that I used for the first few steps (Multiply, Color Dodge,
Color) will preserve the texture of the oil wipe-out scan that is
on the bottom ("Base Texture").
|Now I'm adding opaque details on Layers set to Normal Blending Mode.|
|Here's the final. Click image to enlarge.|
|Final Layer set-up. I merged the Layers from the beginning |
"underpainting"steps. Noticed the masked Layer of haze that
I created to give some atmospheric background. I lowered the
Opacity of that Layer.
|Here are some of my favorite custom Brushes, created mainly |
by attaching scanned textures to the Spatter Brush and then
making adjustments through the Brush Panel (F5). I generally
use these Brushes to paint opaquely on Layers set to Normal
(Blending Mode). I use the "Conté on watercolor paper" Brush
to smooth out focal points.