A1

1.Starting with a rough layout setting up the scene and pose. Used concrete and
asphalt textures to start, but it�s absolutely optional as it just helps me read
the scene better when it�s super rough. Add in rough versions of props/ scene
elements that you want.

2. Use Color Balance or Selective Color tool to quickly set an ambiet mood just to
get a better read. Applying skintone also helps. Continue addingextra elements and
props. At this stage, focus on the thumbnail (zoomed out view) and don�t worry too
much about accuracy and detailing.

3. Adding in alternate color sources when the rough layout is somewhat in place.
Now with a better read of what is on canvas, it�s easier to slowly tune it in
towards the intended image.

4. Start adding in local colors (using soft light layer), the scene really starts
coming to life when this step is complete. Generally I find it better to tune ina
bit harder with the colors and then tone back/ harmonize later.

5. Harmonizing/refining stage. Overall, I just make progress on all the elements in

the image slowly, as well as tuning the colors to match the ambient light ordirect
light sources.

6.Adjust the lighting so every light source has the desired impact on the scene.
(For example, the orange light from the stall is now cast over a good amountof the
scene.

A2

1.Sometimes it�s OK to combine a few stages together if it�s something that is

familiar to you.For example, after the line sketch, I skipped the flat values and
just added in the top down ambient light.

2.In this case, it was a bit tough during this stage as the BG would not read close
to what I intended until I started adding in colors for the yellow lighting. (The
character is ahead of the BG)

3.Now that the yellow foreground light is in, the scene immediately appears
clearer. I notice thatwhen values are close, (like in a low contrast dusk light)
colors become very essential to addingdepth to the scene.

4.As the BG is a fairly significant part of the piece, I also spent some time
making sure it makes sense.Small things like the reflection off the road, light
cast onto the crowd,etc helps improve the scene.

5.Make sure you keep adjusting the colors and values to get the precise feel you
want. E.g. adding morefog/air to separate the BG out from the character, I also
upsized the plastic crate in the foregroundto overlap the character a bit more
(clearer depth).

6.Finally to wrap up, I decided to apply a stronger DOF-effect. Fortunately, we

already have the elements of FG and BG clearly demarcated. Lastly, I felt the
costume was too �empty� and addeda bunch of small details.

A3
1.Something I do right after the main flat values are in is to identify the big
�shadow casters�. It can be a large building,window grills, or in this case, the
straw hat. This helps me very quickly start to get a feel for the 3D space.

2.Since our target time is dusk, a curve adjustment layer is a great tool to use to
make big sweeping changes to values overthe entire canvas to match that. E.g.
darkening the super-bright whites, reducing contrast on the cast shadow, etc.As
usual I apply colors initially with the soft light layer, and just paint over
directly after that.

3.Painting complex BG�s can be quite time consuming, and I think it is very
important to test out with a rough versionif you are going to commit. Just directly
painting onto a new layer (with a layer mask to avoid painting over thecharacter)
is more than sufficient for my purposes.

4.Blurring the BG is also a convenient way to �add� more imaginary details to save
time on something that is not the mainfocus. Of course, there are times where it�s
very important to showcase the surroundings in high detail, but that is foranother
day.

5.Back to the main character, I continue working in the ambient light, making sure
the correct surfaces arelit on the face/clothing. For example, when the face is
under the shadow (and blocked from direct top-downlight), the main lighting will
come from bounced light from the sides.

6.Lastly, once all the basics are completed. it�s a matter of adding in details
like folds/textures/scratches, and in this case,a nice rain effect. I also took
some time to tune the warm light to fit better into the scene and have the desired
impact.

A4

1. Lines and 1 layer under that to color in solid values. Main purpose is just to
test outthe cropping/composition of how the portrait fits in frame.

2.Adding in colors w/soft light layer plus tuning values slowly towards what you
want.At this stage with simpler paintings like this, it�s possible to just use
normal layer with asimple brush to add extra light sources. For example, I just
brushed over parts of the upper arm and side chest with a yellow color.

3.Since I am drawing a series of images, I would want to match the ambient colors a
bit more. In this case, I added in the light coming in from the evening sky
accordingly.

4.If DOF (depth of field) is intended for the background, its a good time to make a
backup of the BG, and then blur and mask as neccessary. This helps me keep focuson
the main area to be painted (the character). You can just use the same mask to add
more (blurred) details to the BG.

5. Clean up the highlights (everything in the highlight area appears more HD ) and
continue texturing as necessary. Personally I just use 1 brush with lots of small
dotsfor the texturing 90% of the time.

6. Final adjustments to the values of your tones. In this case, I made the skin
tone moreconsistent across the character.