There are 9 layers here, 5 for the background, and another 4 for the figure. I create my figure and lighting in Poser, and output the plain figure and also a textured version, using some custom textures I devised in Photoshop. Then I do the composition in Photoshop, collaging the figure with the background. The backgrounds are all taken from original photos that I take of natural textures: wood, rocks, tree bark, plants and flowers (alive and dead) mud puddles...but all I'm interested in is the texture, and the shapes that emerge when I convert them to line art. Sometimes I use SA for this, other times Photoshop, depending on how dense I want the lines to be. In Photoshop I "find edges." In SA I will use an image operation--either sketchEdge, or one of the other b&w options.
In this case, I painted the whole thing several times, each time on a new layer, using a custom variation on a flat paint style. Then I overlayed the b&w line drawing, and using that as the source, used a customized edge sketching brush to paint in the texture, and the outline of the figure.
Then I did the same, but this time with only the figure layers: the two from Poser, plus two additional modified texture layers I'd created in Photoshop--one which would suggest veins and arteries.
I brought two versions of the background, one with the figure and one without, and also the composite figure, into Photoshop. I modified color and then deleted parts of the figure so the background showed through in places. Where necessary, I did some additional touch-up painting in Photoshop.
The piece, which just won 3rd place in a juried competition, is 50x40", printed on canvas on a Canon IPF9000 (my own.) Even my calibrated monitor doesn't tell the whole story. Because it's a reflective surface, the painting actually glows when properly lighted.
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There are 9 layers here, 5 for the background, and another 4 for the figure. I create my figure and lighting in Poser, and output the plain figure and also a textured version, using some custom textures I devised in Photoshop. Then I do the composition in Photoshop, collaging the figure with the background. The backgrounds are all taken from original photos that I take of natural textures: wood, rocks, tree bark, plants and flowers (alive and dead) mud puddles...but all I'm interested in is the texture, and the shapes that emerge when I convert them to line art. Sometimes I use SA for this, other times Photoshop, depending on how dense I want the lines to be. In Photoshop I "find edges." In SA I will use an image operation--either sketchEdge, or one of the other b&w options.
In this case, I painted the whole thing several times, each time on a new layer, using a custom variation on a flat paint style. Then I overlayed the b&w line drawing, and using that as the source, used a customized edge sketching brush to paint in the texture, and the outline of the figure.
Then I did the same, but this time with only the figure layers: the two from Poser, plus two additional modified texture layers I'd created in Photoshop--one which would suggest veins and arteries.
I brought two versions of the background, one with the figure and one without, and also the composite figure, into Photoshop. I modified color and then deleted parts of the figure so the background showed through in places. Where necessary, I did some additional touch-up painting in Photoshop.
The piece, which just won 3rd place in a juried competition, is 50x40", printed on canvas on a Canon IPF9000 (my own.) Even my calibrated monitor doesn't tell the whole story. Because it's a reflective surface, the painting actually glows when properly lighted.