You're going to see blues you're going to see oranges, but don't worry about that and try to find one unifying color So for me, I think from the light value we should go a little bit more towards the reds Change this color bring it down a little bit more and maybe we can get something like that Now again, if you're not sure how to do this process I was once upon a time in the same boat as you everybody has to start somewhere So take your eyedropper tool go back into the shadows See if you can find that shadow color right try to observe where it is on the hue spectrum Try to observe where it is on the saturation spectrum But when you actually go to apply that color Don't use the eyedropper now in this part of the process once we've escaped from the flat colors We're starting to add shadows and depth to our drawing you want to identify where the light source is coming from This is very important to anything that you're going to render in this reference He is being lit by the sunlight coming in this direction How do I know this because if you look at surfaces like his shoulder, for example the light Reaches this surface and the shadow falls on this surface So that means the light since it travels in a straight line It's going to be coming from here and there's going to be a fall off of light here as we venture into the shadows So i'm going to start a new layer create a clipping mask and in this layer, we're going to be adding some Shadows, just use a simple hard edge brush.
你會看到藍色,也會看到橙色,但不要擔心,試著找到一種統一的顏色,所以對我來說,我認為從光照值來看,我們應該更偏向於紅色、如果你不確定該怎麼做,我曾經也和你一樣,每個人都得從某個地方開始,所以用你的滴管工具回到陰影裡,看看你能不能找到陰影的顏色,試著觀察它在色相光譜上的位置,試著觀察它在飽和度光譜上的位置,但是當你真正要應用這個顏色的時候,不要用滴管。一旦我們擺脫了平面色彩的束縛 我們就要開始為繪圖添加陰影和深度了 你要確定光源來自哪裡 這對你要渲染的任何東西都非常重要 在這個參考中 他是被從這個方向射來的