October Pin Club Pins!

This month, new pin club sign ups get 3 pins for $25 shipped anywhere in the world!

Join the Pin Club!

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About the Pin collector Club

At the $25 level you get everything included in the first five levels of patronage (monthly Coloring Pages, tutorials, behind the scenes, access to the secret store.), PERMANENT 20% OFF GalleryGerard.com discount,  and a membership to the Gallery Gerard PIN COLLECTOR reward! 

For the first month, sign ups will immediately receive the patreon exclusive pin "Wish" (the unicorn) pin as well as the new pin of the month.  Each month you will receive the current Pin of the Month automatically.  I have some really cute ones coming up!  Plus, if I release any other Patreon exclusive pins, you will receive those as well. Shipping anywhere in the world is included in this tier.  

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  • Gain access to exclusive Patreon posts with behind the scenes images

  • Each month I send out Patron surprises, things like exclusive pins, and one small original drawing per month  

  • Early looks at works in progress (sketches, drawings, paintings, and projects)

  • Occasional Desktop Background Downloads

  • Technique Videos

  • Step by step tutorial guides for new artwork

  • A brand new, never before released coloring page download each month 

  • Downloads of High Resolution paintings

  • 20% discount on all prints in my shop

  • Special monthly super sales on select items only you can access (Half off, ect.) 

  • Full length painting videos of pieces in progress

  • Patreon Exclusive Pin

  • New Pin of the Month mailed anywhere in the world

Join the Pin Club Now







The Moonlit Vale Gallery Nucleus Show

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See the painted works of "The Moonlit Vale" in person this Saturday! The series will include 8 original paintings that will be displayed and available for purchase at Gallery Nucleus. We will also feature a giant coloring page for attendees to enjoy. An opening reception will be held on Saturday, June 16, 2018 from 6 – 9pm. 

*Books purchased on opening night will include a special book plate of "The Mermaid"

Click for more information on the show

STORE 626.458.7482 GALLERY 626.458.7477     (EMAIL )
Tuesday - Sunday : 12:00 PM - 8:00 PM, Monday : Closed
210 East Main St, Alhambra CA 91801     (MAP )

New Prints Available

"Morgoth and the Silmarils" 11" x 14" Print
20.00

11 x 14 inches

The artwork is professionally printed on a heavy stock semi-gloss paper and comes packaged in a re-sealable clear plastic sleeve. It is shipped in a cardboard photo mailer with a backing board for added durability.

The image is signed by Justin Gerard.

Quantity:
Add To Cart

GenCon 50

We are headed to GenCon in Indianapolis for their 50th anniversary show!  It should be a super fun event, so if you are in the area be sure to drop by to say hello!  Here is a preview of some of the brand new original paintings and drawings we will be bringing to the show.

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 "Weary of Winter" 8x10 oil on canvas

"Weary of Winter" 8x10 oil on canvas

Applying Transparent Color in Photoshop

By Justin Gerard

In a recent post I was asked if I'd go into more detail about how I apply and saturate color when I work digitally. Today, I'll be giving a brief overview of this.

Please note that this post is geared toward people who are familiar with Photoshop, but still searching for how to best use it to colorize their illustrations. Photoshop Geniuses may find the following a little basic. (Digital ninjas, yetis, warriors, and Kevin Sorbos will find this utterly beneath them)

For the purposes of this post, I created the above monochrome watercolor to colorize. I usually work over full color watercolors, but this should help keep things a bit simpler. (Just know that you can use all these same principles when working over full color work!)

NOW, FIRST OF ALL:

Painting digitally over drawing or a monochrome painting has 2 major pitfalls to avoid:

#1 The Pernicious Photo-tint Look.  (Think: old colozied photographs) We don't want this.

#2 The Vile Plastic Over-painted Look. (Think: purple wolf baying the moon airbrushed onto the side of a mobile home) We don't want this either.

The first pitfall suffers from too much information from the original image, while the second suffers from not enough.  We want somewhere in between.  And thankfully, Photoshop has been built specifically for this. All we have to do is use the right combination of tools within it.

SO LET'S GET STARTED WITH THE BASICS:

Layer Modes 

To apply color in Photoshop I begin by making a new layer and then selecting a mode for it.  In the example below of Little Red "Gonna-Ruin-Your-Day" Riding Hood, I have applied a flat red color to a selected area of her cloak.  As I change the layer mode we see how the effect dramatically changes. 

 

As you can see, most of these when used alone, will leave our image looking photo-tinted. (Pitfall #1) 

That is where a process of applying a combination of several different layer modes in sequence can be extremely helpful. Consider the following combinations:

 

 

Notice how the final effect in all of these offers a more natural looking saturation of colors. Here's why this works:

A surfaces true color is only revealed in the area between the direct light and the shadow. 

For this reason, we are only used to seeing "true" red in limited areas. When we see an object painted in a single shade of red, it looks wrong and somehow flattened.  This is because where the object receives direct light, the red will take on the color cast of that light, and where it is in shadow, it will take on the color cast of the environment's ambient light. Furthermore as objects recede from the viewer the color is further altered by atmospheric perspective.

Certain layer modes saturate more heavily than others. Some darken as they saturate, others lighten.

OKAY JUSTIN, THIS IS STUPID AND YOU'RE STUPID. WHY NOT JUST PAINT WITH NORMAL LAYERS?

Normal layers are great! If you are just getting started, you should work with just these until you feel you understand them.  They behave the most predictably and are extremely versatile if you are using brushes with low flow or opacity. 

However, if you are adding digital layers over top of a traditionally painted image you will find that eventually you obliterate portions of your original, and the that the final effect is plastic and uneven. (Pitfall #2)  To truly take advantage of Photoshop's power, you need to use transparent layer modes.

Photoshop has a dizzying array of options for colorization. What is important is finding what works for you. There is no real right or wrong. It is just whatever you can use to get what's in your head onto the screen.

For me, the majority of my transparent layers are made up of Multiply, Color, Soft Light and Screen.  You can do essentially anything with just these four and end up with a solid image.

 

Multiply Layers tend to darken and add chroma in a very dull application. This is great for slowly building up colors and adding texture and tone to your image. It is very much like working with traditional watercolor. Great for building shadows and toning your image.

Screen layers are essentially the opposite of multiply, these also add color slowly, but they lighten instead of darken. I use these to add direct lighting over the dark layers below.  By picking a warm yellow color here I am able to slowly work up a nice natural looking lighting effect to my figure. 

Soft Light Layers are bonkers. They have no master, and obey no man. The math that governs them is not fully known to science. What I do know is that when a bright color is used on a soft light layer, it will allow for a very bright saturation of color which does not affect the details beneath it.  For instance, I used a bright green color on a soft light layer to really pop the bright greens out from the rest of the image. 

Color Dodge Layers scorch out highlights. They are extremely brutal and should be used VERY sparingly. Too much and you are lighting your birthday cake candles with a flamethrower. But when used sparingly, they can help to intensify your brightly lit areas as well as any glints of detail light. I use Color Dodge layers to sharpen highlight areas, add rimlights, and sharpen object profiles against their backgrounds. When alternated with multiply layers it will help push the value range of the image.

Color Layers. Not shown here because I use them so sparingly, but I do use basic color layers to push and pull color in limited areas. The Color layer mode is the classic means of photo-tinting, (and I need not badger you any further with warnings there). Just know that you shouldn't overuse them, but that in limited doses they are excellent.  For instance, killing chroma: If an area is too red, I can select a blue color and lightly apply it on a Color Layer and it will pull the red back into check.

Normal Layers. Finally, there is just no escaping at least some opaque work for me when I work like this. But now that we have already established our value range and our colors are fully laid out, we can add details and opaque work that blends rather seamlessly with the rest of our image.  I also use it very transparently and often set the layer opacity to less than 50%.   

This general sequence offers me solutions to the problems I generally face as I work through an image. Everyone's artistic temperament is a little different, so play around with the different modes in different sequences and see what works best for you.

 

I hope this was helpful! As always, I take post requests, so if there is something you'd like me to cover please let me know in the comments!

Be Our Guest

Disney and Gallery Nucleus are collaborating on a "Beauty and the Beast" inspired art show in anticipation of the new film. We are very excited to be participating in such a monumental event!

 "Winter's Rose", 18x24, oil on canvas, Annie Stegg Gerard, March 2016

"Winter's Rose", 18x24, oil on canvas, Annie Stegg Gerard, March 2016

BE OUR GUEST: AN ART TRIBUTE TO DISNEY'S BEAUTY AND THE BEAST
March 11, 2017 - April 2, 2017
Opening Reception / Mar 11, 7:00PM - 10:00PM

Miyazaki Tribute Show

I am so honored to be participating in Spoke Art's Miyazaki Tribute Show in their San Francisco gallery.  I decided to illustrate My Neighbor Totoro, because it was the first Studio Ghibli movie I saw when I was a child.

I will have the framed original available at the show, as well as a limited run of 50 canvas prints.   

 "King of the Forest"  8x10 oil on canvas, Janruary 2017

"King of the Forest"  8x10 oil on canvas, Janruary 2017

 Limited Edition Giclee canvas prints (run of 50)

Limited Edition Giclee canvas prints (run of 50)

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Exhibition dates: 
Thursday, February 2 - 25, 2017

Opening night reception:
Thursday, February 2nd, 6pm - 9pm


Spoke Art
816 Sutter Street
San Francisco, CA 94109

3D Total's Masters of Sketching

Hey guys! I wanted to share some images from "Masters of Sketching" by 3DTotal. The book is available for preorder. The book is 272 pages long and includes tutorials from myself along with some pretty amazing artists! All preorders come with a free sketching bundle. The book will be available on December 5th <.  arti. dfgdfgdfgdfgd. werwerwerwerwerwerwerwerwrwerwersdfsdfsdfsdfsfdsfsfdsfdsfsfssdfsdfsdfsdfsdfsfsf. 

Featured Artists Include:

Patrick Ballesteros, Paride Bertolin, Mike Corriero, Tom Fox, Eliza Ivanova
Zoe Keller, Kikyz1313, Abigail Larson, Sean Layh, Larry MacDougall, Jeremy Mann, Christina Mrozik, Jim Pavelec, Bobby Rebholz, Kirill Semenov, Annie Stegg Gerard, Ania Tomicka, Eduardo Vieira, Colie Wertz, and Sam Wolfe Connelly

Art

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