One of the aspects that should always be aware of are the direction of the planes in relation to the light source. So all the planes that are facing the light source they will be much brighter. All the planes that are away or opposite to the light source they'll be much darker. So let's create some textures and effects on this portion of the bridge by using this logic of light and shadow. So what I'm doing now, I'm painting the tiles of this portion of the bridge. Of course, whenever they get closer to our light source which is the opening on the temple, there'll be brighter. So what I'm doing now is, I'm establishing the shadows first. So I picked a darker color and I'm establishing the shadows of these tiles on the ground, and I'm trying to keep them irregular, so they look like they're made by hand and not by a machine. So I'm trying to draw here following the perspective of my scene, but just a shadow shapes of these tiles. Now I'm going to pick brighter color and I'll start creating the rim lights on the form, where to form has a bevel. Usually, it catches the light source and reflects back to us, so it seems brighter. So just on the rims of the shapes, I'm trying to establish this brighter spots and try not to be too mechanic to regular with that. It's nice to have them on certain spots and not on the outer spots, so try to make them more organic, more natural. So here I'm pretty close to the source of light. So this one should be a lot brighter and I'm going to adjust that a little bit later. I'm just trying to establish a good shape. Yeah, you can see that it's already much brighter than the other ones, and it's the same with this. So now we pretty much have some texture and some detail on top of our main shape. What I'm doing now is, I'm trying to make the shape here eroded and irregular with the background color. I'm trying to paint the cracks and the wear and tear on the rock. My idea here is to make the impression that this is broken, this is old. So that's why I am doing this, creating these irregularities. All this is possible, just by having this shape selected. Remember, I am working with my blue portion of the map which is the other portion of the temple and this portion of the bridge selected. I just hit my selection by using control age, but I still have two selection. So that's pretty much what I'm doing now. So let's create a new layer, and let's try to work on the temple now. So going back to our clown-pass using the one tool, I select a temporal control age to hide the selection, and then on my new layer, I'm going to keep this very dark because only a small amount of bounced light will reach the front of the temple. So I'm going to keep this very dark, I don't want this to draw any extra attention. I want you to feel that. There's a temple here and there are some details on the walls, but I don't want this to be, let's say, the main actor of our scene. The main actor actually is the bridge right in the middle of our scene. So when you're creating a concept, you need to determine the hierarchy of the elements you're painting. What's the most important element? What are the secondary elements? So does the secondary elements help domain element to be emphasized? This should be in your mind at all times when you paint a concept. It's all about creating a hierarchy of the elements. So I'm beginning here by the least important ones, which is pretty much this portion of the image. So I'm just trying here to imply some detail based on the 3D model we created. One thing also very important is, the 3D model is a starting point. You don't need to be a slave of the 3D model, in such a way that once you create it you cannot diverge from it, you cannot get away from it, you can. If you think I can get rid of this shape, I can add another shape, I can get rid of this detail, I can add some more detail, I can totally obscure a portion of what I created in 3D, you can do that. You're always composing. You should always be with your eyes trained to identify parts on the composition that you can either emphasize or get rid of. So 3D photos, textures, I mean, anything you put into your painting, even the painting itself, they are secondary to the composition. So they are starting points, they are building blocks so you can reach a final end, a final output. So keep that in mind and work smartly. You can even obliterate an entire portion of a previously constructed 3D mode there's no problem in that, as long as you keep true to your feeling of the good composition. So now I'm creating here some shadow shapes on the temple, just to imply that there are like levels on this temple. This is the side wall which should be bright because it's receiving light from the opening. But all this is much easier because I have this areas selected, because I have these areas separated from each other. So I can work on each one of them as a single entity. Of course, always having the vision of the whole, and this is another thing you should always have in mind. Whenever you work, always keep the vision of the whole. Never lose division of the entire painting, even if you're working on, let's say there's a figure and you're working on the eyelashes of the figure, you need to be aware of the entire image. Because sometimes we get a little bit carried away and we have what it's called tunnel vision. So we stop seeing things objectively. So always keep the whole in mind.
