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Contents

Medieval Armour

Greek - Roman

Oriental Japanese
Samurai

Chapter 01
003

Chapter 02
013

Chapter 3
024

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a
h

1
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Chapter01

Medieval Armour

Gather Information
The first thing I usually do when I get a project
is to collect all of the reference material that I
am going to need. Most of the time you can find
everything you need by just Googling it. Fig01
shows images taken from different museum
websites. It is a good idea to start building up a

brushes that I have used so that you can try

large reference folder on your computer so that

them out too. To load them, just click on the

the next time you need some armour reference

brush tool and then right-click on the canvas.

you will already have it. Now that we have our

Your brush menu should now open. In the top

reference material, we can start the illustration.

right corner is a small triangle button - click on

Getting Ready

it and go to Load Brushes, then select the file

that is included in this tutorial. As for what size

This painting is going to be done primarily in

of a file you should work in, I always paint at

Photoshop CS2, with a little bit of Painter IX at

300dpi and usually around 3000 pixels wide.

the end. I have included the Photoshop CS2

This artwork is 2404x2905.

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The Block In
Start by blocking in the main shapes of the
figure (Fig02). At this point you are just trying to
get the basic shapes of the figure, so dont worry
about the details just yet. Next, lay in the basic
colour and shapes for the face (Fig03). I felt the
need for some more colours in the background,
so I added some yellows to the ground and
brought them up behind the character, and also
onto his legs (Fig04).

Chapter 1

Medieval Armour Chapter01

Adding the Detail

Usually I block in more of the armour shapes
before I work more on the head, but this time I
am going to finish up the head first so that I can
focus more on the armour (Fig05a). I wanted
this guy to be a rough and tough knight, not
just another big brute, but one that is proud and
charismatic. Another way to make someone
look more heroic is to elongate their proportions.
Usually I make them around 8-9 heads tall. Now
that I have the head down, I can start blocking in
the armour. I wasnt really sure what the armour
was going to look like, so I just started throwing
down paint (Fig05b). The shape I put down for
the pauldron didnt really make any sense, so
I start cutting away pieces and trying to give it
some more form and function (Fig05c). One
thing you always need to be aware of when
designing a character is whether or not they
could actually function. Its nice to make them
look cool, but a lot of the time, especially in the
gaming industry, the character will need to be
able to animate. This is where your references
come in handy. Study how real armour is
put together and try to figure out why it was
designed a certain way and how it works. I felt
like the character was leaning too much, so I
rotated him a little counter-clockwise, and gave
him hair and a beard (Fig05d).

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Chapter01
There are many ways to paint in the highlights,

you like, but I find it easier to use a soft brush.

one of which is to use the colour dodge tool

Sometimes the area you paint will become very

(Fig06a & b). I know people always say to never

saturated, so just go back in with the desaturate

use colour dodge, but when used correctly it is

brush. For the plates on the arm, I first paint in

a great tool. First you need to pick a dark colour.

the curved shadows that they create (Fig07a &

If you pick a light colour you will overexpose the

b). Then I put in some specular highlights, the

illustration very quickly. Next, click on the brush

core shadow, reflected light, and a highlight to

tool and go up to the mode pull down and

the rim of the plates (Fig07c).

Medieval Armour

select colour dodge. You can use any brush

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A lot of people ask me how to get textures in
their paintings (Fig.08). Most of the time I just
paint my textures in manually with my brushes,
but sometimes I will overlay a texture from a
photo. I found this texture from Barontieri (www.
barontieri.com). The easy way to add texture to
a painting is to take the texture, copy and paste
it into your illustration, and set the layer property
to overlay. Then you can knock down the opacity
to whatever looks good. In this case I lowered
the opacity to 45%. I wasnt really feeling that
his pose was fitting with what I had in mind, so I
changed around his stance to a more confident
pose (Fig09 & 10).

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Again, whenever you are painting something, be sure to remember that

there are several parts to describing form, such as the core shadow,
reflected light, and the highlight (Fig11). Another really cool part to paint of
armour is the chain mail (Fig12 & 13a). Painting chain mail is really easy
and looks cool when you are zoomed out. This time I decided to make a
chain mail brush for the purpose of this tutorial. Open a new document
and draw a few c shapes. Make that into a brush and go to the brush
controls. Click the box next to Shape Dynamics and under Angle Jitter
set the control to Direction. Doing this will cause the c shapes to follow
the direction of your brush. Also click the box next to Other Dynamics so
that you can have opacity control with your stylus. First lay down one row
of chain mail by painting from left to right, then you can paint the next row
simply by painting from right to left. The reason we can do this is because
we set the angle jitter to direction, allowing us to paint the c shapes in
both directions without having to rotate the brush. This will let you get the
basic idea down. Now go back in and pop in some highlights and darken
the edges (Fig13b).

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The armour on the arm is going to be handled

After that I drop in a texture overlay layer

the same way I handled the chest armour

(Fig17b). On top of that I use the colour dodge

(Fig14, 15, 16 & 17a). First paint in the basic

brush to pop in some more lights (Fig17c).

colour, then add in the shadows and highlights.

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Go through the same process on the legs as we

have used with the arms (Fig18a, b, c, d, e & f).
It is a good idea to occasionally take breaks
from your painting, so that when you come

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back to it you can more easily see mistakes you have made (Fig19). You
should also regularly flip the image horizontally to see any flaws. I felt like
his head needed to be a little bit bigger, so I enlarged that and changed
his left arm as well (Fig20).

The Final Touches

Now I am going to move to Painter IX to add in some final textures
(Fig21). Open the image. It is better to add the texture to another layer
so that you can erase out parts you dont want. To do this you will need
to make a copy of your illustration. Select the entire canvas (Ctrl+a) and

then, with the move tool selected, hold down Alt and then left-click.
This will create a duplicate layer. Now go to Effects Surface Control
Apply Surface Texture. A dialogue box appears with the different settings.
Change the Using drop down to Image Luminance (Fig22). Now go
down and make sure that Shine is set to 0. Adjust the Amount to an
amount that looks good to you and then click ok. Finally, just erase out
the parts that you do not want, flatten the image, and you are done. Next
month I will show you how to create Ancient Greek/Roman armour! Keep
your eyes open!

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Medieval Armour

Chapter 1

Roman

Soldier
Chapter 02

Chapter02

Roman Armour

Research
The first thing I usually do when I get a project
is to collect all of the reference material that
I am going to need. Most of the time you can
find everything you need by just Googling
it. I found some images (Fig01) from
aurorahistoryboutique.com and www.
globaleffects.com. It is a good idea to start
building up a large reference folder on your
computer so that the next time you need some
armour reference you will already have it. Now
that we have our reference, we can start the
illustration.

Preparation
This painting is going to be done primarily in Photoshop CS2, with a little
bit of Painter IX for adding texture. I have included the Photoshop CS2
brushes I used so that you can try them out. To load them in Photoshop,
click on the Brush tool and then right-click on the canvas. Your Brush
menu should open. In the top-right corner is a small triangle button - click
that and go to Load Brushes, then select the file that is included in this
tutorial. As for what size file you should work in, I always paint at 300dpi,
usually around 3000 pixels wide, depending on whether it is a vertical
or horizontal illustration. This time my image is 2404x2905. I forgot to
mention this in Part 1 of the tutorial, but you can check part 1 - European
Knight - Medieval in the December Issue, so I will bring it up now. If you
are going to be working as a professional illustrator, getting a tablet is a
necessity. I use a 6x8 Intuos III tablet, and I would really recommend it
because of the function buttons on the sides. Having these buttons has
increased my efficiency and speed dramatically. I usually never even have
to use the keyboard except for when I want to resize things or flip my
canvas. Plus, the Intuos III has a larger stylus, which is more comfortable
for your hand. After you install your tablet you need to set up the function
keys and touch strip for Photoshop. I am using a PC, so first click on the
Start button and then go to Control Panel. Look for the Wacom Tablet
Properties icon and double-click it. This will bring up the dialogue box.

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Click on the Functions button, under Tool.
This will allow you to customise your function
buttons. You will probably want to make these
buttons specific to Photoshop, so if Photoshop
is not listed under Applications, then just hit
the + button and you can choose Photoshop
from there. Now click on the Express Keys tab.
This lets you customise each button separately.
Next to that is the Touch Strip tab, which lets
you customise the touch strips - it is pretty
self explanatory. Close the window when you
are finished. Fig02 is the image of the tablet
configuration I mentioned above. People have
been asking what I have my tablet function keys
set to, so I figured I would draw a really bad

drawing of a tablet and label the different buttons, as you can see from
Fig03.

The Block-In
First I start by putting in some type of background; in this case I just tried
to put down some interesting brushstrokes. After I have that done, I start
the figure by blocking in the main silhouette. I never do any line drawings
for my illustrations because I find it easier for me to paint in the shapes, as
opposed to using line. For the face I always lay down a base skin colour
and then add in the shapes for the eye sockets and the nose (Fig04).
Now that I am happy with the figure, I start to block in the shapes of the
armour. I am not really sure yet what the armour is going to look like. I
have a basic idea since I am doing a Roman soldier, but since I never do
thumbnails I usually just go with the flow. I always hated doing thumbnails
in school, and once I started freelancing professionally I found that I never
had a client ask for thumbnails, so I just never did them. I probably should,
since it would probably help with my compositions and to give me a better

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idea as to what I am going to paint, instead of

constantly changing my illustration.(Fig05). At
this time I go ahead and jump in with the colour
scheme of my illustration. I put down the base
red colour for his clothing, as well as a yellow for
the armour. I also block in the areas where you
can see his skin. A lot of times when I am at this
stage I end up putting down some highlights so
I can see where I am going. Usually you should
hold off on the highlights until the end, but I am
impatient. Plus, I know that I will be making the
highlights brighter later on (Fig06).

Adding the Detail

When I am working on an illustration I always
try to keep it zoomed out to 25%. This actually
determines what size I make my paper size as
well. Basically, I resize the image so that it takes
up a fair amount of space in the window at 25%
zoom. The reason I work zoomed out is so that I
wont get bogged down with detail early on. This
always allows me to see the entire illustration
as a whole, and I can judge more easily if things
look correct. I also constantly flip my canvas
horizontally so that I can more easily see any

errors. Even when I do start to detail things I normally try not to zoom
in. I also try to work on one layer as well. The only reason I am working
in several layers on this illustration is because it makes it easier to save
my different steps for this tutorial (Fig07). In this step I just made a minor
change in the colour. I believe I added more blue and cyan. During the

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process of any illustration I tend to change the
colours a lot. The colours I start with are just a
starting point, never an ending point (Fig08).
After looking at his armour for a while, I began
to notice some technical errors. If you follow
through with the shape of the second armour
segment - the blue line - you can see that the
shape I initially drew for it was too far over to
the right. You wouldnt actually see it because it
would be behind his arm (Fig09). Not only that,
but I also felt like the first two armour plates
werent wrapping around correctly, so in the next
step I am going to fix that as well. The easy way
to fix this is by using the distort tool. First, use
the lasso tool to select the area that you want to
fix, then go to Edit > Transform > Distort. Now
just drag the lower-left corner and hit Enter. All
you have to do now is go back and fix up some
areas, and youre done. Fig10 is the result of
fixing. I mentioned earlier that I was going to

make the highlights brighter; I like to use the

colour dodge setting on the brush to accomplish
this, not the actual dodge tool. I added an
example of what it would look like if you used
the dodge tool. Basically the dodge tool sucks
out the colour and makes it look really bad. The
way to use the colour dodge setting with a brush
is to click on the Brush tool, then go up and set
the Mode to Colour Dodge from the drop-

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down menu. Next you want to pick a darker colour, or else you will risk
overexposing the image very quickly. By using a dark colour you can build
up the highlights in a more controlled manner. Also use a soft brush, like
the airbrush shown in Fig11. In Part 1 of the tutorial series - the medieval
knight - I showed how to add textures from images. This time I used more

textured brushes. One brush I used is kind of

like a chalk brush. You can see what it looks like
with and without the dual brush setting. I used
this brush to build up the texture on the armour
(Fig12).

The Final Touches

Now that I have all the basic shapes and
colours down I can just go in and finish off
with the details, like the separation in the
different armour plates, rivets, rings, etc.
(Fig13-15). I also begin to spend more time
on the face (Fig16 &17). Another way to get
some cool textures is to take this to Painter
IX. First, drop all your layers, and then select
the whole canvas. Make sure you have the
Layer Adjuster tool selected, then hold Alt
and left-click on the painting. This makes a
copy of your painting. Now select the top layer

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and go to Effects > Surface Control > Apply

Surface Texture. Under Using select Image
Luminance. Make sure that you have Shine set
to zero. You can also now adjust the Amount
to whatever you think looks good. This effect
enhances your brushwork and will also make
your painting look sharper (Fig18). The arm
wasnt really attaching correctly so I went back
and painted in an arm without the sleeve. After
getting the arm correct, I paint the sleeve on top
of the arm (Fig19&20).
One thing you want to remember when painting
armour is that armour reflects everything around
it. In this case I made sure to put in the reflection
of the arm and the red sleeve (Fig21-24). The
painting is nearing the end, and only a few more
parts need refining (Fig25-27). I also now start
to put in the final little details, like the straps

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on the front of the armour and on the helmet
(Fig28).
One of the problems I always have is knowing
when I am finished. Usually, by the end of a
painting I start getting tired of it, and sometimes
I start to get lazy (Fig29). I really didnt want to
finish the legs, but I felt that since the rest of the
illustration was so refined that I kind of had to
finish the legs as well. I still left the back leg a bit
unrefined, as well as the back arm. I still dont
feel happy with his left leg, but I will go ahead
and call it finished (Fig30).

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Here is the final image. I hope
you will learn something from this
tutorial.

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Chapter 2

Ch apte r 03

Samurai armour Chapter03

Gather Information
Just like in the first two parts of the tutorial, I begin by searching for some
good samurai armour reference. I found these from www.baylug.org,
www.artsofthesamurai.com, www.therionarms.com, and some other site
that I do not remember at the moment. Not only will finding good reference
help as a starting point, but you can also see how the armour is put
together and how it works. (Fig01)

Getting Ready
A lot of this tutorial will be a repeat of the first two tutorials, so please bear
with me. I need to go over everything again for those of you who did not
see the first two parts.
This painting is going to be done in Photoshop CS2. I have included the
brushes I used so that you can try them out. To load them just click on
the brush tool and then right click on the canvas. Your brush menu should
open. In the top right corner is a little triangle button. Click that and go to
Load Brushes and select the file that is included in this tutorial. As for
what size of a file you should work in, I always paint at 300dpi and usually
around 3000 pixels wide, depending on if it is a vertical or horizontal
illustration. This time my image is 2279x2984.
One important thing I forgot to mention earlier is remember to save!
I save every couple of minutes as well as saving different iterations.
This way if my file ever becomes corrupted or deleted I will still have a
backup. Usually my naming format is something like name_01, name_02,
name_03, and so on. It is pretty common for me to get up to 30+ iterations
on one illustration. This takes up a lot of memory, but it is worth it. It also
helps when you have to do tutorials!
and I hit ctrl+b to bring up the colour balance dialogue box. I also tilted

The Block In

the figure back. Most of the time when I start an illustration I have no

(Fig02) As always I start out by putting in some random brushstrokes for

idea what kind of colours I will be using, so I tend to change them a lot

the background and then I block in the main figures silhouette. (Fig03) I

throughout my process. (Fig05) Now I begin to work on the face. First,

am working at 25% zoom so that I can see the entire illustration and so

just like the body, I block in the base skin colour just as a flat shape. After

that I wont get bogged down with any details yet. I still try and keep things

that I usually block in the darks, such as the eye sockets and the underside

loose at this stage. (Fig04) At this point I start playing with the colours,

of the nose. (Fig06) Usually it is a good idea to paint the head without the

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helmet on so that you can get the size correct,

but in this case I did not and had to make the
face larger (lasso the face, hit ctrl+j to make a
copy of it, and then hit ctrl+t). I am also shifting
the colours to more reds and yellows. (Fig07)
Now that I have more of the face painted in, I can
see other drawing errors with the helmet, so I fix
those as well. (Fig08) If your painting starts to
look a bit too fuzzy, you can make a copy of the
layer and then go to filter sharpen unship
mask. (Fig09) Some parts may become a bit too
hard edged, so you can just erase out the parts
that you dont want. (Fig10) With my chalk type
brush I paint in the base colour for the helmet. I
then add in some yellow fill light on the opposite

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side to make it more interesting and to give it some more form. (Fig11+12)
In the next few stages I am just refining the shapes of the helmet as well
as changing the colours to have more reds and yellows instead of being
so blue. (Fig13) The shape of the menpo (jaw part of the helmet) was
getting confusing when viewed at 25%, so I changed it to a more readable
shape. (Fig14) At this point I am putting in the final details of the face,
like moles and imperfections in the skin. A general rule about painting
faces is that the area around the mouth and jaw is more blue and green
than the rest of the face, especially on males. This is due to facial hair as
well as veins. The part right under his nose looks like a bluish colour, but
it is actually just a desaturated orange. It only looks blue because of the
surrounding colours.

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Adding the Detail

(Fig15-17) In the previous tutorials I showed how you can use textures on
different layers and then set them to overlay. You can also do this with
brushstrokes that are on a different layer. For this part I used a brush that
I got from www.barontieri.com. Create a new layer and then put some
brushstrokes on that new layer, then just set the layer to whatever you think
looks good, in this case I used soft light. (Fig18-21) The technique I used
for painting the maedate (crest on the helmet) uses a texture overlay. I
render out the maedate as I would any other object, but then to give it some
more texture I take a texture file (this is the same one I have been using in
all three parts of the tutorial that I found at www.barontieri.com) and paste it

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into a new layer and set that layer to overlay.

(Fig22+23) One of the techniques used in
samurai armour was to have overlapping
lacquered plates that were woven together by
either silk or leather. Lacquer is like a varnish
that was coated over the armour to give it a
hard, waterproof, durable finish. The surface
could be anywhere from a matte surface to one
that is highly glossy, depending on how much
it was polished. Metal wasnt the only type of
material that was lacquered, but also leather
and wood could be used in the construction of
the armour. (Fig24) I decided that I was going
to have a glossy, lacquered surface for the
kabuto (helmet) and the sode (shoulder armour)
and a more textured, steel do (breastplate).
(Fig25+26)

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(Fig27+28) Samurai almost always wore two
swords tucked into their belt. In this case I gave
him a katana and a wakizashi. Both of these
swords were worn with the blade facing up.
(Fig29-33) Another good investment to have
as an illustrator is a good digital camera. If you
are not sure about a pose or a certain piece of
an illustration, just shoot a quick reference shot.
Here is the reference shot I took of my hands in
the same pose.
(Fig34+35) Again I am using the colour dodge
trick to pop the highlights on the sword. Just
pick a soft brush, change the brushs mode to
colour dodge and then pick a dark colour. If
you pick a light colour you will risk overexposing

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the painting very quickly. Using a dark colour

allows you to build up the highlight more
slowly and in a more controlled manner.
(Fig37+38) I took out the armour on his
arm and changed the colour of his clothing
by using colour balance (ctrl+b) and levels
(ctrl+L) (Fig39) I actually just cut out the
previous armour I had and put it on a new
layer, and then erased out the parts between
the metal plates. I then connected them with
little rings. (Fig40) For the lower part of the
arm I wanted some chain mail, so instead of
drawing each individual ring I made a chain
mail brush. Just open a new document, draw
a circle, and then go to edit define brush
preset. This will stick the brush at the end
of your brush library. Now you can select
the brush and then open the brush controls.
Under brush tip shape change the spacing
so that each circle touches the edge of the
next circle. I then clicked on shape dynamics
and set the angle jitter to direction (you dont
really have to do that with this brush since it is

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pretty much round anyway) and also the other

dynamics so that I can get opacity change with
pressure. Be sure to save your new brush!

The Final Touches

(Fig41+42) The belt was a good place to
try and add another type of material to the
painting. I wanted to make it look like it was
made from silk, so I painted it with no texture
and made it very shiny. I also did some colour
dodge on the light areas.
(Fig43+44) Now I am just adding in the final
highlights to his shoulder armour, adding the

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lacing, and refining a few things below his

waist. (Fig45+46) After I finish adding the
laces to his shoulder armour, I use the burn
tool on some of the ones in the shadow, as
well as darkening the core shadow. I also did
another unsharp mask filter to his pants and to
some other areas as well just to tighten things
up. All that is left now is to sign it!

Daarken
For more from this artist visit
http://www.daarken.com
Or contact
[email protected]

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Chapter 03

: volume 3

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