This example of Baymax is more interesting; to use pure white body to reflect rubber texture, in fact, tests master of light and shadow than rich colored objects.
The tutorial mainly explains the ideas and process details; please refer to the attached PSD; it is very simple.
I generally use the method to build the body first, then lay out the space and make the final details.
1. First, when building the body, the body building should be accurate; in the ratio of the official map of the subject, tick the basic outline; it is better not to describe but observe it; combined with the memory, use the pen; to use red is to identify the relationship of body; then only draw one arm and one leg; in the latter period, you can use the magic mirror method.
2. Start with the head and use the color value bfc5c6
3. Add inner glow
4. Improve the brightness of the upper half of the head; make the direct use of a white layer and use the mask to erase it
5. For the shadow of the lower half of the head, I use three layers to exhibit. The first layer is a solid color + mask; in the second layer, I add the dark edge of the lower half of the head; in the third layer, I increase the shadow. The final two layers use overlay mode to increase shadows.
6. Paint high-gloss to the head of Baymax with Gaussian blurring 5 pixel without worrying that it is too bright; largely cover it and in the latter, it can be adjusted at any time
7. Draw the shape of the eye by the use of layer styles; be careful not to use global light
8. Fill the body with color value A8AFB2
9. Use the brush with size of 95 and hardness of 0 to roughly swipe sense of volume; it can be adjusted later, so it is almost ok.
10. Copy a layer of body contour; set BEVEL & MBOSS to enhance the sense of volume
11. Copy the body contour and make the body emit light to enhance the perspectivity of rubber
12. Refine the light and shadow detail
13. Here I use a few high-gross to perform the deflated air texture of Baymax with Gaussian blurring 2 px; this place needs to apply and not too be regular, and then on the other side, use the mirror method to copy high-gloss; after you adjust the shape and angle, it is ok.
14. Do not forget to deal with the shadow of the head and physical contact, and here I directly trigger an oval-shaped blur and then erase the upper half with mask.
15. Continue with shadows in the nearer distance with 2 px segments combined with masks erasing; the closer, the darker and the more real
16. It is basically completed; the shadow when two objects connect, so deal with some shadows in the head.
17. Fill the arm with the color value A8B0B3
18.Use brush stroke in size 150 and hardness 0 to smear the sense of volume
19. Set the outside light to be white in transparency 22 and length 27
20. Deepen shadow projection of the body in the arm; the principle is the closer contact between objects, the deeper shadow.
21. Draw the arm high light, fill it with white and fuzzy 3px; adjust transparency and overlay the layer style; combine with mask to erase texture
22. Draw a level of light perception again in the same way to reflect different parts
23. Fill the contour with different gray
24. Finger painting is like the way of body painting
25. Finger base and arm connecting part needs a projection effect and an inner glow
26. It should be noted that the finger base and arm connected place is not the same as the original.
27. It is the finished form of the whole hand; in fact, there is no special technique; the key is to master light and shadow and accumulate experience; please refer to PSD
28. Now add lines, gray rubber and folds on the arm.
29. Legs painting is like arms painting; mainly pay attention to the interaction of shadows between the body and legs.
30. Use the mirror method to achieve the final appearance; is not it a little gray? Here you can adjust the luminance and color; in PS, gray does not matter; in the latter, it can be salvaged; it is important that the relationship between the various light and dark gray should be exact.
100% of copy means nothing; I hope you can deduce light and shadow by culturing your own experience through practice. What is the derivation of light and shadow? It is that based on one’s own experience or sketch mapping experience, one knows where to paint highlights and where to paint shades without reference to FIGS. The technique depends on observation and practice to develop.
Anyone is welcomed to redistribute and quote the content only if he or she notes its origin. http://4-designer.com/2015/05/inflatable-doll-baymax-quick-painting-strategy-attached-with-psd