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I was always wondering, why invaluable isn't the opposite of valuable... or maybe it is? :D


Hehehe, yeah it is a bit confusing..however..


I'm not a native speaker but I think it is because when you use 'invaluable' in this sense, it is applied as a verb instead of an adjective. So what I'm saying is: "It's not possible to 'estimate a value' for this; it is invaluable."

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(Did you use Panopticum Engraver plugin for that drawing-stamp effect?)

My main "plug-ins":




And for what you call "drawing-stamp" (which was actually trying to mimic the look of a thick, brushed-on underpaint) I've used the free version of ArtRage (which can still be found through Google) and hand painted it with my tablet.

Edited by Laserschwert
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Mh, I guess it's time for a step-by-step explanation then.




The necessary characters in the required poses and with the appropriate facial expressions, as well as models (like the wind machine and the Narwhal) are - based on the 3D-models ripped from the games - rendered in 3ds max.




The poster-composition is done in Photoshop, using both the elements rendered in 3ds max, as well as photographs that are put together (like the sky, the ocean and some other photos of clouds).




This image is then color-corrected to be all black and white, while the blacks turn to very light greys, whereas the whites are mostly blown out (I'll explain later why I do this). This image is printed on thick and matt inkjet paper.




The printed image is basically traced with a pencil (actually several pencils at different grades), trying to recreate mostly the dark and mid-tones of the image. Once finished the drawing is scanned back in (the drawing itself is made at A4 size and scanned at 300dpi).




The scanned drawing is color corrected to turn the darkest pencil strokes (which are usually grey) into black. Furthermore the white of the paper is darkened until it is a mid-grey. Remember how we basically removed the highlights from the image before printing it? So actually we were just drawing the image from the midtones down to the darks, ignoring any highlights. Those will be added later.




Several layers of fake light and dark paint spatters are put over the image, which a) helps to blend the pencil lines a bit better and b) gives the illusion of much more detail in the drawing.




A blurred version of the initial composition is layered over the image to add the color. It is then smudged in some places where the color bleeding (due to the blurring) was to excessive, to basically keep the color "inside the lines".




Another layer is hand-drawn (although this was just a test, and I was lazy, so I only did it for Guybrush, Elaine and Winslow this time), with lines following the directions of the surfaces. The drawing is then scanned back in.




That layer is color corrected so that only the drawing (and not the printed image) is visible. It is then inverted and the resulting white lines overlayed on top of the image (it's barely visible, but it's there).


STEP 10:


Taking the initial composition as a guide, all the highlights are drawn in with a graphics tablet inside Photoshop.


STEP 11:


The image is color corrected a bit.


STEP 12:


Using the free version of ArtRage I create a "primer"-layer. Which then...


STEP 13:


... is layered over the image. Had I painted the image for real using acrylics, this would have actually been the first thing I had done, painting the board with a thick layer of so called gesso, which gives a nicely textured base to draw and paint on. In the digital realm it's easy to add this texture afterwards.


Well, there you have it!

Edited by Laserschwert
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