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Sony artist shows how he creates painterly scenes using Blender and Photoshop

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Painterly digital art created using Blender and Photoshop showing a crowd at the side of a racetrack in a science fiction world.

Credit: Luis Carrasco

I made this piece in Blender, using add-ons such as HardOps, Node-It, and preset assets to speed up my workflow. I started by blocking out the scene with one main light source and atmosphere to keep it feeling natural.

From there, I used Photoshop to layer in photo textures and details, making sure to balance realism with a painterly style. To finish, I broke up the 3D look with the Dry Brush filter and tweaked the colours with Hue/ Saturation layers.

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My top tip is to really take the time to learn your tools. Knowing the shortcuts and add-ons can save a lot of frustration (see our Blender tutorials and Photoshop tutorials for more tips).

01. Figuring out the story

Painterly digital art created using Blender and Photoshop showing a crowd at the side of a racetrack in a science fiction world

First, I think about what needs to be in the shot to sell the story. I look at references to establish the mood and composition, then block out my scene and play with camera angles.

I add some atmosphere and take a couple of screenshots, including a solid view 'clown pass' for masking later.

02. Adding detail in Photoshop

Painterly digital art created using Blender and Photoshop showing a crowd at the side of a racetrack in a science fiction world

In Photoshop, I usually do a rough paintover to figure out what areas need more work, then go back into 3D to add extra assets. After taking new screenshots, I start painting over them again. I mix in photo textures and paint on top to make things look more detailed.

03. Colour tweaks and final polish

Painterly digital art created using Blender and Photoshop showing a crowd at the side of a racetrack in a science fiction world

I use the Dry Brush filter to break up the 3D look and create a painterly feel. Once it all feels balanced, I use Hue/Saturation layers to shift colours, and brush in changes.

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For the final pass I copy-merge, apply a 3.4 High Pass, then set it to Hardlight, Overlay or Soft Light around 35 per cent Opacity for sharpness.

This article originally appeared in ImagineFX. Subscribe to ImagineFX to never miss an issue. Print and digital subscriptions are available.

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