[WIP] Hand-drawn map features

[jfrazierjr]

@ jfrazierjr: Alas, the second image has no sketch, I drew it directly on photoshop. But I have an earlier sketch on paper, it's almost the same. Dunno if it can help you, but here it is:

Well dang it!! Don't do that!!!.. heh

I'm not sure I understand your last comment. What do you mean by going deeper? With central slope lines?

Yes... think in terms of a first step being the "top outline" of the mountain. So, in a simplistic terms, your upside down V's. Now draw an imaginary line between the bottom two points of the "V" and this is what I mean by baseline. By deeper, I just mean further into the "negative" from that baseline with your central spines (multiple appears better!!!). This mainly points to singular mountains as opposed to your approach which has multiple "peaks" in single brush as I have recently been playing with also..

For me, flat = bad. rounded = not bad, but not best either. jaggedly sort of roundy but not really round = really darn nice!

For me, the bottom row of the last image are the clear winners in overall style and 3D-ishness. BUT, then again, it also depends a huge amount on how you link them together... ie that extra bit of line shading around the base really helps make mountains pop. Even "flat" bottom mountain symbols look much better when you have added some additional shading between each symbol. On your last scan image, take off your "land" shading on both sides and just have the mountains themselves(including shading on the cliff faces but not any "horizontal shading. My guess is you will notice a huge difference(feel free to share both copies if you want) and that the one without the land shading will look much flatter....

[Morgan]

You're welcome. I'm quite good when we speak about theory. I fall when putting into practice!
But I keep promises. Is this the one?


Actually, I had to manually remove some grey from the fold on the paper. And that should teach me not to draw of flying paper piaces. They make A4 whole for a reason. And folders exist for a reason, too!

[Morgan]

Well dang it!! Don't do that!!!.. heh

Oooohhh, sorry, sorry, it was the last time, I swear!

Yes... think in terms of a first step being the "top outline" of the mountain. So, in a simplistic terms, your upside down V's. Now draw an imaginary line between the bottom two points of the "V" and this is what I mean by baseline. By deeper, I just mean further into the "negative" from that baseline with your central spines (multiple appears better!!!). This mainly points to singular mountains as opposed to your approach which has multiple "peaks" in single brush as I have recently been playing with also..

For me, flat = bad. rounded = not bad, but not best either. jaggedly sort of roundy but not really round = really darn nice!

For me, the bottom row of the last image are the clear winners in overall style and 3D-ishness. BUT, then again, it also depends a huge amount on how you link them together... ie that extra bit of line shading around the base really helps make mountains pop. Even "flat" bottom mountain symbols look much better when you have added some additional shading between each symbol. On your last scan image, take off your "land" shading on both sides and just have the mountains themselves(including shading on the cliff faces but not any "horizontal shading. My guess is you will notice a huge difference(feel free to share both copies if you want) and that the one without the land shading will look much flatter....

Ok, got what you mean. I agree, actually, when I begin drawing the final versions of the brushes, I want to have a coherent perspective (which I think will be isometric), thus I'll have a measure of how deep I can go. I mean, since the general shape of a single mountain's base has to be a circle (not regular, of course, but since a mountain is a cone, the base must be a circle), I want to draw the isometric projection of the circle, then the base outline (which is a slightly "randomized" circle), and then draw lines from peak to the base. This should grant an harmonic look in the various mountains, that is, they should all respect the same perspective.

I also think you're right in the single-mountain approach. Drawing 10 different single mountains allows you to construct different mountain ranges mountain by mountain, having more variation in the map. I'll have to try that.

As for the ground shadow, with my last experiment (the djekspek tutorial one), I think that using the smudge tool to merge the color with the background makes mountain smoother, so I think I'll go with that and then add the ground shadow manually. This should also help to give a coherent shadow for greater mountain ranges ('cause when peaks overlaps you don't need the shadow of the peak in the back, of course).

Thanks for the insights, they have given me a lot of things to consider. Have some rep!

[Slylok]

Your mountain technique is coming along nicely Morgan They are really looking great. Some things ive learned about blending mountains into the map:

- The base is key. lines that gradually become more horizontal at the base of the mountain give it the appearance of coming out of the ground. a sharp angled line at the base of the mountain is a no no.
- Shadows. as has already been stated, the shadows are darker closer to the ridges. also the shadows that the mountain casts on the ground gets lighter as it moves away from the mountain. be aware of the direction the light is coming and its angle. A light that is coming 90 degrees from the right will cast a long shadow to the left. A light that is coming 45 degrees from the right will cast a shorter shadow to the left.

when i get home tonight ill whip up some examples that might help explain what im trying to say.

[Slylok]

this is basically the same technique i used on the Arcadia map. dont forget where the happy sunshine lives

[Morgan]

Oh my, you're so good at this!

You know, I was beginning to realize the gradual lines this just today, when I was in my car and got a glimpse of the Vesuvius (Yep, I'm from Naples). It was not so clear, but I was beginning to wonder if all mountains have so morbid slopes.
It's incredible how much we don't see, sometimes, even things that are in front of our eyes every day. It's clear now!
Well, leaving philosophy behind, I thank you for your words, I also think my technique is improving a bit for every new sketch I make, but I know I'm still far from a good result. However, your image has been illuminating (perhaps it was the happy sun-smile? ), especially the B/W version of the mountain and the layers explanation. It points out some flaws I have in my general approach to the shape. Can't wait to implement what I've learned in my next sketch!

The forum does not understand how crucial your role has been, and won't let me rep you ('cause I repped you for the Arcadia map, I think). You'll have to do with just my thanks for now (they are a LOT of thanks, though ), but you'll have yuor rep as soon as I can give it to you again!

I will post another sketch soon and share what I come out with!

[Morgan]

I made it, I made it!!!!!
My technique still needs refining, of course, I need practice and experimentation, but I'm quite satisfied with the result!
Credit goes to Slylok for pointing me in the right direction, and thanks everyone for the advices and support.
I will go on posting updates and revisions for critique and comments! But not now. Now I have to go on and jump in excitement all over the room. I'm so happy!

[Gidde]

Looks good! It's *really* dark though. Maybe some more highlights?

[Morgan]

Yes, some of the refinements I was referring to are to use brighter and less saturated colors, add more highlights and smooth some shadows.
It's a question of brushes and opacity, though, shouldn't be too difficult to adjust!

To be honest, I made this in a rush 'cause I wanted to see the final effect. Smaller and less opaque strokes should increase quality exponentially!

[Slylok]

Yeah thats looking really good. Another thing i forgot to mention is the color layer and pattern layer should fade as they get closer to the base of the mountain as well. it just helps it blend into the map more. The happy sunshine was my way of trying to be like bob ross. he was such happy artist and fun to watch. keep it up the good work