3.3 Adding Splatter to the Design
In this lesson we will enhance the overall look of the composition by positioning splatters effectively around the central quarterback. I have supplied five splatter files which can be found in the source file folder.
1.Introduction1 lesson, 01:34
2.Mastering Sports Illustration11 lessons, 1:49:39
3.Mastering Sports Design7 lessons, 1:08:52
4.Conclusion1 lesson, 01:05
3.3 Adding Splatter to the Design
Hello and welcome. This is Simeon for Tuts+ and in this lesson we're gonna look at adding splatters to the design. Okay, excellent. Basically that we did in the last lesson, we added some text to the poster. Now we're gonna go on and edit the text a little bit further on in the tutorial but now what we're gonna do, is look at adding a bit of color to the backdrop and add in some splatters to add some drama and motion to the composition. Okay, so let's go ahead and have a little bit of fun here. The first thing we're gonna do is. Basically runoff, of the background, and we're gonna create a gradient overlay that carries off the piece. At the moment we've got a blank white background. And we need to add some color and interject a bit of blood to the backdrop. So the first thing we're going to do, is just press F to go full screen mode. Just to let you know, you'll need Splatter 1 and also Splatter 2 PSDs for this lesson and obviously, the main design that we've been working on. Okay, so, what we'll do is click onto the background layer at the very most bottom, and we're just gonna add a gradient in overlay to it. So we double click that layer and it brings up our options. We want to go to Gradient Overlay. Okay, so we've got a Gradient on here that we're going to use. Basically, what I'm gonna do is at the moment just OK and Reverse that. So we're going to Reverse it, go from Light to dark, I feel. Or actually no, let's keep it as it is, we'll go from dark to light, so dark at the top and light at the bottom. Right now, just going to click back into the actual gradient, to give you the color values of the of the blues. For the blue that is to the further left is C 68, M 21, Y and K 0. Then for the darker blue on the right on side is C 100, M 82, Y 36 and K 27. Okay so we get those colors into our gradient basically if you want to do that, you just, let you just click in and then you edit them manually OK. Excellent. In there we've got a gradient overlay placed on it and now we're starting to inject some life. Now what we want to do obviously start looking at the splatters and bring some energy into the composition. Okay, so how the splatters will come through is we'll have a default gray overlay. Now, if we want to be adventurous, can distract them in that we say, want to place that above the ground layer with a gradient on it. Okay. Now we go to F for the moment, and just put it in full screen mode so we can zoom in a bit better and see what's happening. Now, for a composition such as this, I would like to use a light color. And the reason being is it just carries off and it stands out a lot better. Now, we could go dark. For example, we could go a really dark blue. Then if we just click the color overlay, we double clicked on to it, click the color overlay, go to the dark blue, darkest blue still like so. If we have a look. And that is strong, and it does have some good energy. I mean, it really depends on how you want to look at it. But for the moment, what we're gonna actually do. For the moment what we're gonna do is go fit the Color Overlay, and we're just gonna put it to white. Okay, so that really stands out strong. Now if you're torn between the two, even a gray can work. Okay so, at this point we go for the white. White color overlay. Now it's just all about positioning it in a position where it carries it off the com. Okay so I'm thinking of energy in motion. Okay. So right now, I'm liking the strings that are coming out of this side. Maybe just tilt it slightly, like so. And just put it up there. What we will do is sort of tidy up the outer edges, of certain points. So, if we see to the left side, if we zoom in, we've got a lot of thinner droplets which aren't coming through as strongly as we'd like. So what we'll do is we'll just select a Brush, a soft brush, around 100 pixels. Put the opacity up to a hundred there. Just tidy up those as quickly as we go. I mean, to be honest. Later on we'll really go in and tidy those up properly. That's the right bracket make that bigger. I'm going to just take care of these really quick. Okay. All right. That's also. So basically now, I mean, it's always a good test just to click the splatter away and put it back on. You see you add in some drama motion to the piece. Now it's just about finding a position in, and so on. We like how to that is working. If we go F and F again. Now we want, we'll just bring splatter over to this side. Now we have two layers of splatter too. The first one we are gonna concentrate on is, actually the bottom one, Layer 0. I'm just gonna drag that in again. And again, what we want to do is to put the palette overlay to the same. So double click on it, Color Overlay. And we pick the color. And go to our swatches, or you can just put a default white if you wish. Now, we've turned that spot white as well. Go to full, so we can see what's happening, and now it's a point of but that in a position again, where it aids the composition. And then we did it with obviously a football player, and we want that sense of motion. We need that sense of motion, that is what carries over the piece. So what I'm liking is these strokes here. So what they are doing for me is creating a sense of motion, that he's moving. So we like those around the outer edge, not so much at the top. And again, so, if we position it around here, at this point, we can even make it smaller. It's not gospel that it stays one size. Okay, but just for purposes of keeping the file size good and the quality of the splat good, if you decide you don't want to minimize it just go a step back and just put it back to the original size so we don't lose any of the detail then. Cuz if you make it smaller, and then make it bigger again. You're actually losing quality, cuz what happens is, you know, the computer has to guess the size and the detail once you minimize it and then stretch it out again. Okay. So, right now I think what we'll do is we'll virtually place it here like so for this point, and make our brush bigger. So around 900, and just rub out the top like so, so literally we've just added this little portion here. Okay, another thing to have in mind is a white splatter is a lot whiter than splatter one. What we'll do is keep organized, so title this Splatter 1 and we're title the second one Splatter 2. Okay, excellent. Now what we're gonna do is literally just duplicate this Splatter 2, cuz we want it to be a bit thick. You see it's a bit too thin when I turn off the opacity. And we'll do the merge down again, so what we'll do is press Cmd or Ctrl+E, and that will merge that splatter now. It's a lot thicker, more dense. And that's the kind of finish we're going for. Okay, so basically, that is what we're gonna do for this portion. Okay, excellent. So, we'll leave that in this lesson for this point and we'll continue on in the next lesson. Basically, that is how you add background gradient and begin to add splatters to the design. I look forward to seeing you in the next lesson.