|Grey's Anatomy Promo VFX|
|Interview with Bobby Chiu|
|License to dream|
|Focus : Gears Of War 3|
|Dragon Age 2|
|Time travellers Comic|
|Thelma and Louise Remake|
|Interview With Nick Harris|
|Making Art for Ipad|
|Making VFX for Ben Hur Remake|
|Interview : Mike winkelmann|
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Using simple gridlines, I blocked the mountain city and fortress in the background. To aid in the creation of the arches, I used part of a photo (fig. 9).
Look how loose and fast I started and how detailed the work will look. It’s important to pay attention to the speed and detail from start to finish.
After establishing the rough value and light, the first stage of coloring begins with color balance, which includes coloring the highlights, mid-tones and shadows of an image separately. In this particular design, I wanted to give it a cool nighttime color, which would provide a good contrast against the warm colors of the flames .
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After the glazing stage, I used color to set the mood via the brush and layers. Color dynamics can change the overall mood of the piece through color adjustments. Don’t be afraid to test the different color settings using a textured costume brush. An adjustment in one direction or the other can change the overall mood.
I used a quick mask to extract the two dragon shapes. I selected each shaped and saved them under select menu in Photoshop. This gave me more control over the design and I was able to work on the foreground and the background separately. I tested different color layers in overlay mode, which gave the image a fresh, saturated color. I gave the far background on the right a little green and I used different tones of red, orange, yellow and purple.
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