# <center><font size=20><u>**Rendering Process**</u></font></center>
>[!info]+ Brushes used
>Underpaint: [[Canvas Brushes - Liquid]]
>Sketch: [[RC Side Pencil]]
>Paint: [[oilset]] - oil2 (customised slighly with added Colour Jitter in CSP Sub Tool Settings)
>Details: [[Intoxicate Pencil Set]]
>Overlay: [[LP Traditionalizer]]
>[!tldr]- References Used
>>[!masonry]
>>![[rendering reference.webp]]
>>![[rendering reference 2.webp]]
>No idea the sources for these images; they were on Pinterest and reverse image searching yielded no results for me :(
>[!seealso|noicon] One - Sketching (15min)
>I lay down the loose structure of the main focus/character/composition. Doesn't really matter if it looks a bit stupid (like this one lmao), it's about getting the general basis down for when I go in to layout colour.
>
>What brush I use here doesn't really matter, I swap them depending on how I'm feeling, but specifically here I'm using the [[RC Side Pencil]] because I like how it feels to draw with it.
>
>![[render1.webp]]
>[!seealso|noicon] Two - Underpainting (1min)
>It's called 'underpainting' but you paint it *over* your sketch. You can either paint it on the same layer or on a layer above. I usually do the layer above, so I can tweak opacity and colour separately.
>
>I also set a background colour; I usually go with a canvas-y beige/white, to simulate the colour of an actual canvas. This colour matters very little, I find.
>
>I use the Liquid [[Canvas Brushes - Liquid]] and brush over the entire sketch in a colour I think best suits what I want from the final piece; I picked this sour sort of yellow, because I wanted the painting to look like an old, over-exposed photo from a dingy bar. Whatever colour you pick here will greatly influence the rest of the colours you use in the rest of the painting process, so you have to choose deliberately and wisely; you will not be able to change it later.
>
>I use enough paint to cover the sketch and sort of 'fade' it out, but not enough to completely hide it from view; you still need to be able to see the sketch clearly enough since it'll be your guideline.
>
>![[render2.webp]]
>[!seealso|noicon] Three - Colouring (20min)
>Here I duplicate the sketch layer, set the colour to a brown or deep red or whatever matches the rest of the planned colour palette, set that layer to multiply, and lower the opacity a bit. Then, taking that multiply sketch layer, I put it on *top* of the under paint layers.
>
>So, your layers should look like this:
>
>|%%t%%|%%t%%|%%t%%|
>|:-:|:-:|-|
>|**Top**|Sketch|Deep Red/Brown, Multiply, Any Opacity|
>| |Underpaint|Any Colour, Full Opacity|
>|**Bottom**|Sketch|Black, Full Opacity|
>
>After that, on the same layer as the underpaint layer, using the oil2 brush from the [[oilset]], I loosely paint in the colours I want to use; I don't adjust the colours based on the painting unless I feel it necessary, the colours adjust with the under paint layer as you paint. I also try to blend a little the different colours that touch each other, to simulate a little bit of that bounce light effect.
>
>This part is optional, but I like to make an overlay layer over my colour layer, where I use an airbrush to brush a yellow tone over the forehead, red around the mid-section/cheeks of the face, and a blue for the chin and under the eyes. I lower the opacity a lot til it looks good, and then I merge that layer and the colour layer together.
>
>
>![[render3.webp]]
>[!seealso|noicon] Four - Lights & Shadows (30min)
>On a separate layer between the top sketch and the colour layer, I make my *shadows* layer where I block out the major shadows.
>
>I set this layer to either *Overlay* or *Soft Light*, and then pick a decently darker colour; in this piece specifically, it was a mid-dark desaturated purplish-pink.
>
>After that, above that layer, I create my *lights* layer. Using a super light colour (close to white), I brush in general areas of most intense light. In this case, I used a super light yellow, and since the feel I wanted was 'over exposed flash photograph', I had a few places I wanted the light to really stand out.
>
>If I find the light a little too harsh on the edges, I will use gaussian blur to blur it a little and make it less straight-edged.
>
>Your layers should look like this:
>
>|%%t%%|%%t%%|%%t%%|
>|:-:|:-:|-|
>|**Top**|Sketch|Deep Red/Brown, Multiply, Any Opacity|
>| |Lights|Any Light Colour, Soft Light, Any Opacity|
>| |Shadows|Any Dark Colour, Overlay/Soft Light, Any Opacity|
>| |Underpaint + Colour|Any Colour, Full Opacity|
>|**Bottom**|Sketch|Black, Full Opacity|
>
>![[render4.webp]]
>[!seealso|noicon] Four - Painting (30min-1hr)
>First stage of painting!
>
>Merging together the *colours*, *shadows*, and *lights* layer, I use the oil2 brush from the [[oilset]] and start more adding broader details, and softening a few edges.
>
>I also block in darker areas of shadow, and lighter areas of light, trying to get the form and/or shape of the subject. This stage is a bit messy, but it's the point where you can see where things are starting to come along.
>
>If I feel like the painting needs it, I'll make a layer on top of the top sketch, and use the *Liquid* brush from the [[Canvas Brushes - Liquid]] set, and make another 'underpaint' layer usually with the same colour as the original. This one, I lower the opacity for quite bit. It helps to adjust the colours a little bit more towards the underpaint colour. Plus I like the texture it gives.
>
>Your layers should look like this:
>
>|%%t%%|%%t%%|%%t%%|
>|:-:|:-:|-|
>|**Top**|Overpaint (Optional)|Any Colour, Any Opacity|
>| |Sketch|Deep Red/Brown, Multiply, Any Opacity|
>| |Painting Layer|Full Opacity|
>|**Bottom**|Sketch|Black, Full Opacity|
>
>![[render5.webp]]
>[!seealso|noicon] Four - Detailing (1hr +)
>Second stage of painting!
>
>Here I merge all of the layers together. Sometimes I'll throw a low opacity gradient map on there too, and merge it with everything else, to adjust the colours a little bit more.
>
>Once everything is in one, nice, paintable layer, I use よわ太鉛筆寝・通常・x4 from the [[Intoxicate Pencil Set]] and start carving away at the details, making use of soft and hard edges while keeping my reference photo handy.
>
>Here, I also continue to push the shadows darker, and lights lighter, creating a nice contrast. The liquify tool is also my friend here, letting me make small adjustments as I go.
>
>I've tried adding in multiple versions to show the progression of the rendering/detailing stage, but I often get really into it when I'm painting and forget to pause to take pictures.
>
>![[render6.webp]]
>
>This one you can more obviously see the use of the liquify tool, mainly on the jaw, mouth and eyes. You can see I moved away from the 'squinty eyes' the original model had, mainly because I could just NOT get it to look right for me :(
>
>I also detailed the eyes a little more, adding the reds and the highlights.
>
>![[render7.webp]]
>
>Rendered the hair more and the earrings, plus more use of the liquify tool :P
>
>![[render8.webp]]
>[!seealso|noicon] Five - Background (30min +)
>Third stage of painting!
>
>Note: the main focus/the character isn't finished being painted here, I just got bored and needed a break from doing that so I started on the background :)
>
>Using the Block and Flat brush from [[Canvas Brushes - Liquid]], I loosely painted around the character with some vague shapes (on the same layer still, btw.)
>
>It's awkwardly cropped here because I ended up extending the canvas a bit after this stage, but still. Don't focus too much on detail, instead making larger, broader strokes, getting that nice texture in and blending some colours around.
>
>![[render9.webp]]
>
>Some more work on the background :)
>
>![[render10.webp]]
>[!seealso|noicon] Six - Detailing (30min +)
>Almost done!
>
>After finishing the torso and jewellery, I added a few last touches. There is not real instruction for how to do this bit, this is the part where I'll have a hundred layers of adjustment layers, gradient maps, etc, adjusting and tweaking the contrast and colours a bit to suit what I want.
>
>Here specifically I added:
>- A *gradient map* masked to the background to make it a bit darker and have the character stand out more.
>- More subtle *gradient maps* on both the character and the whole piece to make the colours a bit more cohesive.
>- An *adjustment layer* that increased the brightness and contrast of the whole piece slightly.
>- An *overlay* layer where I airbrushed a tiny bit of red onto the eyes and lowered the opacity by a lot.
>- A *colour dodge* layer, where I airbrushed a tiny bit of red onto the eyes and lowered the opacity by about halfway.
>- A *glow dodge* layer, where I airbrushed a tiny bit of white onto the highlights of the eyes and the highlights of the earrings. I set the opacity to about halfway.
>
>![[render11.webp]]
>[!seealso|noicon] Nine - Texture Overlay
>Using [[LP Traditionalizer]] I pick a nice overlay, and slap it onto a layer above everything.
>
>I set that layer to *linear burn*, and bring down the opacity til I like how it looks.
>
>[!seealso|noicon] Eight - Done!
>The finished piece!
>
>If you want access to the full-length speedpaint, as well as the original CSP file with all the above steps put into folders, plus a hi-RES version of the image, it will be available soon for pledgers on my [Patreon](https://www.patreon.com/turtlebrowniee?redirect=true)!
>
>![[render12.webp]]
>[!seealso|noicon]- Speedpaint (15sec)
>![[squish.mp4]]