An Interpreted Photograph: Step-by-Step
I'm in the process of prepping for a workshop to be held in Bamberg, Germany. This class will be primarily landscape oriented. I'm working on a demonstration image for the event and I thought I'd share the step-by-step interpretation of an image.
Here is the final image:
Original Photograph
The initial image was sent to me by the organizer of the workshop. It is the old city hall in Bamberg, which is one of the few cities spared from bombing during WWII. As a result, there is a wealth of well-preserved architecture in the town:
Image Evaluation and Corrections
Before beginning the painting process, I evaluated the image and made a few adjustments. I cropped it a bit to eliminate some unnecessary imagery at the left edge.
I desaturated and lightened some background scenery on the right edge that was distracting the profile of the town hall.
I re-composed the town hall to place it a bit more centrally in the frame.
I added a more dynamic sky to give the overall image a bit more sunny disposition. I shoot interesting clouds whenever I see a good example and maintain a library for just this purpose.
Finally, I pumped up the saturation in the image. These colors will be applied as brush strokes later on over a somewhat desaturated version of the same image. (See next step)
Detail:
Underpainting
Now I create a second iteration of the image. The first iteration is the saturated image in the previous step. This second iteration will be a simplified and somewhat desaturated version. I used Painter's Smart Blur filter to "drain" the photo of high detail and emphasize edges. I then desaturated the resulting simplified image.
This second iteration acts as an underpainting, a common preliminary step in the traditional painting process. I will then paint on this desaturated underpainting using color that is derived from the initial saturated iteration. This probably sounds a bit like a shell game—and it does require keeping track of where your brush is sourcing its color—but it is actually pretty straightforward (although hard to fully illustrate here).
Here is the second iteration:
Detail:
Removing Photographic Detail
Next, I "scrubbed" the image to add roughing-out brush strokes. This is largely done to eliminate the photographic detail from the image, as well as move it to a more traditionally appearing underpainting. Keep in mind that I also have access to the initial highly saturated photographic rendition, as well.
Here is the completed underpainting:
Detail:
Texture Addition
Now I add a variety of textural elements. My brushes are set up to sample their color from the initial over-saturated version. This enables me to paint on the desaturated underpainting and add detail and color emphasis:
Detail:
Detail Brush Strokes
At this point, I add brush strokes that provide additional structural detail to the painting:
Detail:
Color & Brush Stroke Blending
Now I go back in and smear and finesse the painting surface with a dry brush that blends the colors on the canvas. This serves to integrate various elements together:
Detail:
Varnish Coat
Finally, I added a clear varnish layer to provide a textural patina to the surface:
To add the appearance of clear varnish, I use a specially prepared Photoshop PSD file that I created, called "John's Impasto Varnish". The "varnish" is actually a layer that is overlaid atop the painted image. If you'd like to use this special layer on your own images, you can download it here:
John's Impasto Varnish.zip
John's Impasto Varnish is 8X10@300dpi. The two included PSD files (horizontal and vertical orientations) are in Grayscale Mode to reduce file size. Because Painter does not support Grayscale Mode, you'll have to use Photoshop (or any application that understands Grayscale mode) to open and convert the files to RGB Mode for use in Painter. Instructions are contained in the John's Impasto Varnish PSD file.
Be advised before you start downloading, the ZIP file is 33MB!
I hope this is useful information for you.
Viva la Painter!
-john