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Malachi Maloney
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Arizona-native Malachi Maloney first tapped into his artistic talent as a boy, when he began drawing monsters as a way of coping with his nightmares As an adult, he frequently applies his training in traditional media to a subject far less frightening than monsters: pin-up models, created using Photoshop Malachi has developed a reputation as one of the most impressive pin-up artists to come along in decades, working with Playboy Playmates, Penthouse Pets, Perfect 10 models, and various sci-fi and fantasy cover models, among others
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Next, he sketched in the hair just enough to give him a rough idea of the type of hair style he wants her to have For sketching, he used a 2-pixel airbrush set to multiply at an opacity of 70 percent and a hardness of +50 Next, he set the layer style to multiply and duplicated the layer Finally, he merged the two sketch layers together and lowered its opacity to around 50 percent
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To accommodate this demonstration, Malachi quickly made a mannequin head on which to paint the hair
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All images for this tutorial copyright 2003 Malachi D Maloney
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Malachi is constantly experimenting with techniques to improve his work His method for painting hair, shown in this tutorial, is the result of a couple of years worth of experimentation Even after investing this much time to get the process right, he claims it s possible he won t use it forever, since he might discover a better method as he continues to play with processes and learn For this technique, Malachi suggests you use a graphics tablet and that you paint at a high resolution the higher the better For this example, he painted at 2x2 inches at a resolution of 300ppi
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He created a new layer under the sketch layer, which he named Hair He started blocking in the shape of the hair with a paintbrush at an opacity of 100 percent After he got the shape he wanted, he cleaned up the edges with a hard eraser at 100 percent opacity and a fine tipped smudge tool at an opacity of around 90 95 percent
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He locked the layer transparency so he could paint on just the part that s blocked in without affecting the rest of the layer s surface Then, to establish the lighting, he used a soft airbrush at an opacity of 3 7 percent to paint in the basic shadows and highlights, making sure to vary the colors every so often for a realistic effect
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To form the basic shapes, he first used a soft smudge tool set to an opacity of around 65 70 percent to form the shapes and clumps of hair Then he went in with a High Opacity Blur tool to soften everything, including the edges
To prepare to paint the individual hairs, Malachi used a soft low opacity airbrush and lightly erased around edges and at the tips of the hair to make them slightly transparent, which makes the hair look lighter and more natural Malachi painted the individual
hairs by first creating another layer above the main hair layer With a 2-pixel paintbrush, set to an opacity of 90 percent and a hardness of +50, his brush options all set to Stylus except for color, he started to paint in the individual strands of hair
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Malachi painted in some loose strands of hair on two layers: one above the main hair layer and one below it After they were painted, he merged them to the main hair layer and used a Low Opacity Blur tool to soften areas of the hair and a little bit of Low Opacity Sponge tool to increase the saturation in certain areas
Again, he repeated the process described above over the entire surface of the hair
Next he added a shadow First he made another layer beneath the hair layer Then, he CTRL-clicked the hair layer to select its shape and filled it with a dark color on the layer below Malachi usually chooses a dark color that corresponds with the color of the skin/surface on which he s casting a shadow
Next, Malachi locked the transparency of the layer on which he painted the strands Using a large, soft airbrush set to an opacity of 10 percent, he painted in the appropriate colors and highlights After the strands had been colored, he unlocked the layer s transparency and went over the strands with a
Soft Blur tool set to around 15 20 percent Next, he used a soft, low opacity eraser to make the tips of the strands slightly transparent After the strands of hair were painted, he lowered the layer s opacity to 85 90 percent and merged it with the main hair layer, as shown here
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