The Techniques of

Christian Lorenz Scheurer

Advanced Digital Painting in Adobe Photoshop

1. PHOTOGRAPHIC PLATE
2. BLOCKING AND COMPOSITION
3. PERSPECTIVES
4. PHOTOGRAPHIC ELEMENTS
5. QUICK MASKS ON THE GIANT COLUMNS
6. IMPORTED TEXTURES FOR THE AIRSHIP
7. LIGHTING
8. CHARACTERS
9. COMBINATORY PLAY

ALL CONTENTS COPYRIGHT THE GNOMON WORKSHOP AND DESIGN STUDIO PRESS

ALL CONTENTS COPYRIGHT THE GNOMON WORKSHOP AND DESIGN STUDIO PRESS

1. PHOTOGRAPHIC PLATE
If you are using a photograph or movie still frame as the base of your painting, it is important to take
a moment to analyze the image in the context of light values (Value Perspective), color intensity (Color
Perspective), horizon line and vanishing points (Linear Perspective). At which moment do the edges of the
buildings collapse? Can you determine foreground, midground and background?

2. BLOCKING AND COMPOSITION

Loosely block in the foreground, midground, and background elements as shapes on separate layers.
Move your elements around, scale them up and down, and flip your canvas horizontally in order to find
and check your composition.

3. PERSPECTIVES
Once you complete your rough composition and the elements are in place, adjust the elements with
curves and color adjustment layers to harmonize with the Color and Value Perspective of the base plate.
Only at this point is it necessary to create a linear perspective grid for the different paint elements. Its
a good idea to create separate perspective grids on separate layers for each element as each element
(building, vehicle, character) might have its own vanishing point.

4. PHOTOGRAPHIC ELEMENTS
When bringing in photographic elements, as I did with the river, be sure that the lighting situation is
compatible with the light situation in your painting. Use Curve, Level and Color adjustment layers, and
transformation tools like Scale and Distort to match your new elements in value, color and linear perspective with your painting.

5. QUICK MASKS ON THE GIANT COLUMNS

I use the Quick Mask technique to create a complex design for the midground columns. I virtually wrap
the base shape with an intricate exostructure. Once I exit the Quick Mask, I paint the entire structure with
a gradient tool and big and diverse texture brushes. Remember that painting with selections grants you
control over your shapes and creative freedom in the use of your brushes and textures.

6. IMPORTED TEXTURES FOR THE AIRSHIP

Once I determine the shape and value of the airship, I use the textures of a miniature model to texture
it. I simply drag my texture onto the shape painting, turn the texture layer to Brightness, and adjust the
texture with Curve and Color adjustment layers.

7. LIGHTING
Once all the elements of your painting are in place, you can determine overall color and mood with adjustment layers. You can import lights, lanterns and entire lit facades from photographs. Once imported,
switch the light layers on screen, and turn down the values with a Curve adjustment. Only the imported
lights will remain visible.

THE TECHNIQUES OF CHRISTIAN LORENZ SCHEURER

Advanced Digital Painting in Adobe Photoshop

ALL CONTENTS COPYRIGHT THE GNOMON WORKSHOP AND DESIGN STUDIO PRESS

8. CHARACTERS
I introduced characters in this painting, though in a movie or game they would be replaced with actors or
CG characters. Adding characters will give you a better understanding of the dimensionality of your elements and the emotional focal point of your composition.

9. COMBINATORY PLAY
I am a strong believer in the idea of combinatory play.
According to Einstein, combinatory play means essentially sifting through data, perceptions, and materials to come up with combinations that are new and useful. Applying this method, I try to combine intellectual and visual concepts until their combination results in a new intellectual concept or visual language.

THE TECHNIQUES OF CHRISTIAN LORENZ SCHEURER

Advanced Digital Painting in Adobe Photoshop