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Hi Tantrics,
We are proud to present the digital painting tutorial of the making of Macaw by Waheed Nasir [www.waheednasir.com], Karachi, Pakistan, a traditional fine artist and now a 3D/2D/Texture Artist at Post Amazers, a production/animation house in Karachi, Pakistan. Thanks to Waheed for this tutorial. Feedbacks are most welcome.
Hi there, I have chosen one of my own digital paintings, “Macaw”, for this step-by-step demonstration, that I share with all of u. Here im working in Artrage, for the real painterly look that I wanted. An important note here, is, that though I am writing down all the steps, there is a whole process of thinking behind each stroke, though there is no formula, all I do is follow my instincts with spontaneous actions to bring out what is there in my mind. I am sure my method of painting would help you in some way or the other. What you see here, is my very personal style, so rather than copying each n every step, I am very sure that you will be developing your very own distinct style, an ultimate goal of a real artist.
About this painting: I will paint in an impressionistic manner, with no definite shape, I will suggest things, make impressions of shapes, light and dark and refining things as I proceed. I think, visible, expressive, brushwork gives interesting texture and character to a painting as compared to those over blended strokes.
Note: No tracing, no painting over, no initial sketch, I start directly with a brush and patches of color.
Each image's relevant text follows directly underneath
Step 1:
Using a tablet, I start by blocking in the main shape first, with no detailing at all.
Divisions and composition is all that matters at the moment. Its just like warming up and getting myself involved.
Step 2:
Refine the basic shape. Just in masses of color. I work on the background as well, with some color that I plan to have in the end.
Note: One must know how to draw well before going into this style of painting, though I don’t sketch/draw first when I paint (even in real painting), the drawing knowledge/rules help me throughout. When we sketch on a canvas with pencil first, we often end up with a colored drawing rather than a painting.
Step 3:
I add patches of light.
Steps 4 and 5:
Do some blending and apply more strokes. Thin strokes this time, keeping in mind the feathery look, which is required. Still, no detailing at all. Direction of the brushstrokes is important. I go to build the composition as a whole, working on related areas simultaneously with small strokes of paint.
Step 6:
Now I start building up the form. Blending the strokes, to achieve volume. Random scribbling and strokes that define the direction of the feathers are applied. Lay in bold pattern of value, until the subject begins to take shape. Reduce the subject down to a large mosaic of shapes and values. As the painting takes shape, I start modeling each of the individual items, like the beak, face, feathers etc. I plot the light and dark tones of the feathers using various mixes of orange and red. I apply them rapidly and don’t bogged down in detail, concentrate instead on capturing the gestures of the feathers.
Step 7:
I go for the background now. Add more color and shapes, for a better composition, I usually add or subtract things during the process, like an On The Spot Decision. I give some attention to the background as well. Apply some color, contrasting with what I used in the foreground. Again, there is no rule for such actions, just follow your heart and put strokes to balance things according to your own instincts
Step 8:
I see some strokes for the feathers look too strong for the moment, so I blend them more.
I usually work on the entire canvas at a time. Analyzing every area and working every where at the same time. I keep on observing, balancing stuff, subtracting and adding things to get what I want. I don’t finish any one particular part at one time, esp. when I am painting in this loose manner. I keep my brush moving and working on all areas of the canvas/picture plane.
Step 9:
I decide to work on the face now, I painted over the eye, which was just a spot, I applied in the start for the placement. I did add some suggestion of texture on the face as well. That ill be defining later. Note, that I keep on working on the feathers and beak as well, adjusting everything all the time as I proceed.
Steps 10, 11 and 12:
Work on the eye, with some lights and darks and on reflections. Face gets my attention as well. I blend that texture suggestion on the face. For me, now it has some volume.
Steps 13, 14 and 15:
Work more on the body/feathers, now ill be working for more finished look. Work on the beak and the background as well. More colors are added throughout. Greens come into play as well. The beak gets, some browns, blues and purple, from the surrounding.
Step 16:
Add some new color, strongly, to get the vividness and colorful look that I planned for. Purple, and pinkish hues are introduced, with varying intensity. Other colors are good to have, to avoid the flat look of the subject as well when we just use few gradations of the same color all over.
I highlight the feathers as well, at a few areas only.
Step 17:
I analyze the over all look again, adjust the eye a bit, which seems to be a little off. I also blended some parts of the body and added a few strokes of feathers breaking the outline of the body, to enhance things more. Beak also gets more defined now, with some light and dark strokes. I put some while and off white on the face as well. Note: In the end, I like to have an unfinished, rough look for this, for me that is more painterly. Again, it’s a personal thing, one must paint in whichever style one likes to.
For me, this painting is done, I like it like this, so before overdoing it, I decide to give it some finishing touches all over.
Step 18:
Finally, finishing touches are put to make it all work together. To have different areas of a painting, work well with each other is very important. Harmony and balance is what that I worked for at this point. Colors, values, shapes, composition must go well together for a pleasant result. As a finishing touch, I put some random strokes here and there, without disturbing the overall composition. You have to decide which areas need to have such strokes.
For me, a painting is complete, when the objects appear solid and the composition unified. Painting an entire composition requires constant attention to the combined effect of the overall masses. What holds the busy brushwork together is the strong pattern of light and dark that weave in an out of the various forms. Plus, the soft edges and the melting of the objects in the background are good to achieve at the same time. This helps the overall unity and harmony, which for me, is very important. It also defines solidity and roundness of forms.
This is how the final painting looks like. I am quite satisfied with it. This style of painting is better viewed from a distance of about 4 to 5 ft.
U must have noticed that I don’t finish a particular area at one time, I keep on working on the entire canvas. This is the way I paint and this is not the only way that’s right, u can finish an area and go for other parts and still have a desired result. The bottom line is: Whichever your style is, be it realistic, all blended, impressionistic, etc, there is no rule for such things, we just have our own style. It’s always good to have a distinct, very own style of painting, which separates your work from others. A viewer must recognize your piece by just seeing your brushwork.
That was the walkthrough of how I usually paint. I am sure, with patience and dedication you can produce work that will amaze you and everyone else. Enjoy.
Happy painting,
Waheed Nasir.
My website: www.waheednasir.com
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Digital painting tutorial of The "Making Of Macaw", by Waheed Nasir
