Back 2 the Drawing Board

IF:Twist - Rusty Hatchet

2007-07-06T02:20:00.000-04:00

Originally posted to DL With It for Illustration Friday topic TWIST

(All images are clickable for more detail.)

Last week's vector image was based directly off a photo. This week, it was based on a sketch. Such a scene actually existed in my front yard, except that the hatchet is not rusty. I simply could not get a good composition with the camera though.

Mouse-sketch on Paint Shop Pro X

Most of the efforts went into the hatchet, though it is the grape vines that actually tie into the topic. Life goes on. Really, this ended up being a study in rust texturing.

The rust texture is procedural. Starting with random dots, median filter, and contrast, The primary filter used was the Polished Stone. Once the main rough texture was set, a bottom layer of grey speckles represents the iron surface and was copied to new layers which were further filtered and masked to create the rust areas.
Here is a full-res cropping of the final image.

The leaves took some time also, but not as much and not as detailed. It is made up of three main layers: (1) the color gradients, (2) the vein textures, and (3) a cork texture to break up any solid surfaces. For the final composition, this was copied in as a raster layer, then duplicated and stretched several times, and lower layers blurred out for some depth of field.
The overall background is actually the rust texture recolored, stretched to fit, blurred and darkened.
Text

CLICK HERE for the final picture if you did not link to this page from the IF post.

IF:Camouflage - Spider & Textures

2007-06-29T06:18:00.000-04:00

Originally posted to DL With It for Illustration Friday's topic, "Camouflage."

This was one of those little ideas that just got too big. The tree and moth were both done Tuesday night, but I could not get back to the spider until Thursday night.

After an hour of vector editing on the spider, Corel decided it would be great to interrupt my work to let me know what upgrades I can't live without... wouldn't have been a problem, but it is a pop-up application within Paint Shop itself and I was right in the middle of an intense image operation. Result: software crash. And of course, I have gotten lax about saving and hadn't even done the initial save at that point (I tend to remember when switching to a new precess -IE: done with basic vectors and moving on to shading or texture work).

At that point it was obvious that I would not finish before midnight (an IF goal, though not necessarily a "rule"), so I went ahead and did some additional texture work, going for ultra realism if possible.

All objects are vector-based with textures applied by either built-in patterns/textures from Paint Shop Pro X (with v.7, 8, & 9 textures, etc. added from upgrades) or digitally created textures.

Since there is not room or time to detail every aspect, here are just a couple items:

WOLF SPIDER
Since this turned out so well, I'll skip the moth and just show the spider. To help organize myself for this, I created the vectors in differ colors to show which layer they were on. I prefer to do most of the shape editing with just an outline and a 20-40% transparent fill.

(all images are click-able)

Vector Outlines

After the shapes are done, the transparent backgound is replaced by texture images and the outlines removed:

Vectors with textures only

The Legs, Underbody, and Body layers were copied (all but the eyes) and the objects filled with a gradient that would then be blended with the [Overlay] option.

Vector objects with gradient fill

The Eyes layer is turned back on and any object layering issues dealt with:

Composite of Textures, Shading , and Eyes layers

Here's my source photo -found on THIS website.

TEXTURES
Following are a few of the textures used. Most of my home-brewed textures start with a white image + [Add Noise] @ 100%. Usually this is followed by [Brightness & Contrast] and [Median Filter] to get to a random blotchy pattern. From there the filters are limitless...

This first one was used for lichen/moss on the tree. By the end, the details were lost out, but the texture is available fro future projects anyway.

This is the main bark texture. The tree was made from several vertical strips (the texture was originally vertical, rotated to fit here better). In addition, gradients and textures mixed with various blending modes were added for the overall look of the bark.

I believe this was used on the moth and the tree as a general transparency texture, just to break up smooth gradients.

This is the main spider texture. It was also manipulated in other ways for some other parts of the spider.

Based on the previous texture, with a filter of two added, also made into a tiling pattern.
CLICK HERE for the final composite picture if you did not link to this page from the IF post.

It'd be nice to have the time for these kinds of images more often, but as I am literally becoming a starving artist... well not "starving, but maybe lose everything else!... I have to spend most of my time scrambling to try to generate ANY income at all. It's too bad that these posts are mostly viewed by other artists... otherwise I could solicit jobs through this blog! :-)

/:-P

~Don

IF:Cars - Layers and NonErrors

2007-05-31T19:38:00.000-04:00

All images are clickable for larger a version.
Originally posted to DL With It for Illustration Friday topic "Cars."

Original Sketch

Digital clean-up: not as much effort as usual, but a basic cleanup only.

The Color Layer (with outline layer visible)

Shading Layer (with outline layer visible)

Final Composition

I originally wanted to do this as vectors and try some more realistic shading, but clocks were very fast this week. The original sketch was done Saturday evening, but I never got a chance to scan it and color it until today (Thursday).

Error and Non-Error

The roof looks like you are viewing from above, even though the horizon line is lower. The problem is not the perspective, but the design. The roof is bubbled fairly high so when you see the "sun roof", it is visible from the sides, not just above.

The two vanishing point lines that define the roof area connect close the four corners of the bubble. The blue and yellow box SEEMS like it should be seen from above, but in fact, is being viewed from below. Had I taken the time to make the windows transparent, you would be able to see the top of the bubble from below.

Now there is a perspective flaw that I redrew MANY times and it still is not right. The turn signal/side lamps are correct on the left side (closest to viewer), but I has having a terrible time translating the compound curves to the othe rside. I know it is still wrong, and I think it is because we should only be able to see the forward edge of the larger light, as the rest would be wrapping downward and backward, therefore disappearing behind the body.

Oh well. Next time.

~Don

IF:Remember - Vectors & Focus

2007-04-30T00:35:00.000-04:00

Vector Outlines of the single Forget-Me-Not flower:Outlines Filled in with a single gradient type to help show individual shapes:
Outlines with the eventual coloring, but still without textures added to the fill attributes:

Field of focus - Just One Way to Do It

The finished single flower was stretched and turned to create the second layer of the cluster that will be mostly out of focus. Some lighting effects were added to help create some depth via shadows.

For this sample, I have cut the overall cluster in half. Here is the cluster before blurring:
The layer is duplicated and the original (the one now on the bottom) is given a Gaussian blur set to the deepest blur desired for the entire layer (IN-focus top layer is turned off here):
A layer mask is added to (above) the copied layer (non-blurred, on top). Begin with a "hide all" mask and then paint white (transparent) around the edges of the cluster that should be the most IN-focus and then give it all a Gaussian blur -extreme enough to blend well,
but not to go beyond the outer edges of the cluster.
This is the resulting masked layer (IN-focus layer) with the blurred layer turned off:
Show all the layers and there is a gradient from IN-focus to Out-of-focus:

There are probably several ways to do this, but this is one that worked fro me. All the steps should work equally well in Photoshop as they did in Paint Shop Pro here.

The final picture is HERE at "DL With IT" -My Illustration Friday Blog
(in case you didn't link here from there in teh first place ;-)

~Don

IF:Red - Some Steps

2007-01-27T21:43:00.000-05:00

Posted on DL With It for Illustration Friday, Topic: Red

Digital Oil - Paint Shop Pro X - Final Edit

The first edit was small, 600x600 pixels and based purely from memory of the two males that my wafe raised in the past year. I knew the female was red, but hadn't had live contact, so I wsn't sure of other details. This is the initial rough oil-sketch . . .

Initial sketch - digital oil

After doing a quick Google image search, I had a few reference pics to tweek some details. The eye of the male looks almost solid black because a very dark iris, but the femail is yellow/bright orange. Also the beak was quite a bit off-looking.

At that point I enlarged the image to 3000x3000 and re-painted over it with more deliberate strokes. I've only finished two digital oils before this. One was more of a scribble-painting with quick, large blobs and strokes. The other was done with the photo-trace option (not just a filter) and was posted for IF back in March '06 (additional link on that post a PSP oilpaint w/tracing). Typically I use standard raster layers for painting -relying heavily on the smudge tool.

Here is a full-resolution crop form the final version . . .

Full-res details

I would probably do more in this style if my computer was faster. 1.8Ghz is not as fast as it once was. *sigh. .... a tablet would be great, too.

IF:Trouble - Scroll Window in Blogger

2006-10-12T07:26:00.000-04:00

This is from the DL With It post for Illustration Friday's topic "Trouble."

A couple people have asked about making the scroll for this illo, and I suspect that some may be curious who won't ask. So here is how I did it in this case... There are probably several ways to actually end up with this, but this is just the way I managed so that it would work with Blogger.

This image is 1046 pixels wide (I didn't bother cropping/resizing to get to a nice, round number this time), and the column on my Blogger page is set to take 400px-wide images. If I had simply uploaded as usual, a small, 400px-wide version (reduced to about 40% the original size) would have been inserted.

There may be a simple way to reference the full-sized image if upload within Blogger, but I just didn't want to mess with it. I'm sure someone out there is thinking (maybe even saying out loud), "Man, that is SO easy to do!" Well, maybe, but for now, it was just as, or easier, to upload to my own webspace and then call it in using the HTML edit in Blogger. That was then as simple as adding this to the post:

<div style="margin: auto; width: [Display Width]px; height: [Display height]px; overflow: auto"><img src="http://[Image Location]"></div>

Display Width is the width of the scroll window regardless of the image width. If this is set larger than your actual image width, there will be no scrolling. If it is set wider than your main column on Blogger, it [should] push all the sidebar content below the end of the main section.

Display Height is how tall the scroll window will be. If the image is taller than the window, a scoll bar will be added to scroll vertically. In mine, I set the value to several pixels more than the image height to help guarantee that it will not add a vertical scroller.

Image Location is the url where the image is stored. This can reference just about anywhere you want.

In this example, I have only verified that it will center the <div> within the column in Firefox... I'm not sure if there is enough information for other browsers.

~Don

IF:Quiet - Some General Info

2006-09-30T22:12:00.000-04:00

These are just a few notes about the creation of this illustration posted on DL With It for Illustration Friday topic Quiet.

This first illustration is the picture with all the vector objects in black outline and no fill. Basically this is to show that everything in the illo is vector based. There are a lot of good ways to create near-photo quality images with vectors. Generally they are best on subtle gradients, but with some extra patience, you can recreate just about anything.

At the time of this writing I am taking some classes at Jackson Community College using the Adobe Creative Suit. I have a seperate class in each of Photoshop, Illustrator, and In-Design. I'm not sure if I'll be ditching Paint Shop Pro completely when I finally get the Adobe package here at home, but I am definately looking froward to using illustrator and the vectors.

Perhaps even more than that, I'd love to do digital painting with a drawing tablet, vector or bitmap. Maybe such things will be showing up soon on my IF blog.

This second clip is to show that this time I put a little more effort into the reflection than usual. Usually, to save time, I just do the copy-flip-squish-a-bit technique. (The red outline is how that would look.) This time I went ahead and did some stretching on the wings and a little on teh feet and neck to make it a bit more like a natural reflection.

The image in the reflection is not being viewed from the same angle as when you look straight at the object. In this case, the reflection should look like you are viewing the upside-down heron from further below the bird... in essence, it should look like you are viewing it at an angle from under the water.

If a box was suspended several feet away, but directly in front of you, you would only see the face of it. The top and bottom would not be visible from that angle. But if you look at it reflected in a mirror on the floor, you would see both the face and the bottom of the box as your point of view bounces off the floor.

It may sound like a bit of nit-picking, but it can make a big difference in some compositions.

And speaking of composition... this was a tough one to decide. My original layered image incuded more sky and a tree in the foreground.

The upper-left image is the original composition. I like it, but on one of my zooms around the screen I ended up with the only the section you see in the upper-right clip.

I liked this as well since it seemed a bit less distracting and moved the horizon off dead-center.

Then I decided I wanted the top to fade off so the illustration has no defined upper border. So I tried that approach with the full composition and the cropped comp. The lower-right is the one that I eventually settled on for the IF post.

Anyone still awake?? :-)

Hope that gives someone out there an idea or two that you can use. Thanks for stopping by!

IF: Run - Creation Steps

2006-08-28T00:08:00.000-04:00

This is a step by step creation tutorial for Illustration Friday's RUN entry on DL With It.

The first step was to find the Commodore Font, which I did here. Then after some entering and deleting and re-entering, etc., the above BASIC code was written with PSP's Text tool.

The # sign at the top and bottom are place-holders so I could get the screen dimensions correct. As I recall, the C64 screen was 40x25 characters.

Next came the clasic dark/tl blues. But it still looks too clean. Most of us 'regular people' couldn't afford an actual color monitor, so we had to use the family color TV. That means scan lines and blurry images.

The first step in creating 'the look' is to add the scan lines. This is done with the halftone tool and the settings you see above.

It was a bit hard to see, and I planned on blurring it a bit, so it needed a little bright/contrast boost so the next operation wouldn't fade it out.

A horizontal motion blur does the job.

We had no concept of "flat-screen" in the 80's. So, a little distortion is called for.

And finally, with any curved glass surface, if there is a light anywhere in the room it will be on your screen somewhere. And there you have it.

I wonder if that 128D in the closet is still working......

IF-Rain

2006-06-25T15:06:00.000-04:00

Illustration Friday - Topic: RAIN

This is the 1st animated illo I've done for IF. I know it is aimed mainly at static images, but this was an inspired scene and I just had to do it. Don't look for too many more animated entries in the future... though I may do one from time to time. Really, I generally do not have the patience for it. /:-P

I noticed that on my second screen (a CRT), it looks a bit too dark. I hope this is not the case on too many other people's screen. It was designed on my main screen, an LCD. I tend to forget just how different the various screens can be.

So anyway, here are some of the basic steps I used...

I started with the clouds. I knew I wanted several layers of clouds to illuminate at different times, so I started with the closest cloud layer. I simply splotched some black down, dabbed in some light yellow and white and then used the SMUDGE brush to create the cloud look.

For the second cloud layer, I duplicated the 1st layer, mirrored it and then did a little more smudging. Same for the 3rd layer. Then the 2nd layer was squished vertically a little for perspective and the 3rd layer squished even more.

This is the result of the three layers laid out in the frame with a little overlapping...

To create the different lighting effects, it was just a matter of turning the three cloud layers on or off or adjusting the transparency.

To complete the effect, a solid black background is added.

All the trees are copies of this one vector tree, just stretched, squished / rotated slightly.

Even the horizon row is the same tree turned on its side, squished, and repeated four times.

The entire animation consists of just five frame designs, or cells. For each cell the original composition is copied and then clouds turned on/off/transparent and the trees re-colored as needed.

These are frames 9-20 of 23 total as shown in Jasc (now Corel) Animation Shop 3. The five frames above are copied in various sequences, then the duration of each frame is set to try to make it look a bit randomish. The numbers below each frame are F:# (frame number) and D:# (duration in 1/100 seconds).

2006-06-21T08:45:00.000-04:00

Original post: IF-Dance

This is a step-by-step on how the background was made in Paint Shop Pro X. I believe that all these steps can be don ein PSP9 and probably 8, but I'm not sure if 7 or under will work. If using an older version, some menu locations may be different, but I'm pretty sure the tool is there somewhere. I imagine there are similar techniques in Photoshop, but I don't know them. This may be helpful to some of you who are casual PSP users.

I started with a 60x60 pixel image and used the [Add Noise...] option from the [Adjust] -> [Add/Remove Noise] menu. I used 100% and "Gaussian", though I'm not sure if the type of noise matters so much.

Next resize the image and make sure that "Smart Size" is selected. This will make sure it does not just resize the pixels, but will try to smooth it out in the larger size. I resized to 1200x1200 pixels.

Select [Adjust] -> [Brightness and Contrast] -> [Brightness/Contrast...] and use settings similar to these:
Brightness: -125
Contrast: 100

Select [Effects] -> [Art Media Effects] -> [Brush Strokes...] with the following settings:

Repeat the step by selecting [Brush Strokes...] and hitting [OK] without any changes from the first time.

Select [Adjust] -> [Hue and Saturation] -> [Colorize...]
Hue: 150
Saturation: 55

Then to soften it, use [Adjust] -> [Blur] -> [Gaussian Blur...]
Radius: 4.00

This is the whole 1200px-square block, shrunk down to fit here.

Now comes the lighting effect. Select [Effects] -> [Illumination Effects] -> [LIghts...] and use these settings. (This will all be in one window, but I've broken it up to show each light being used.)

(Click to enlarge if you can't see the numbers.)

This is the final effect, produced totally in PSP-X, no source graphic.

Thanks for stopping by!

IF-Insect-PSP Digital Oil

2006-03-04T20:24:00.000-05:00

I haven't worked much with PaiNt Shop Pro's newer Art Media because my computer is a bit slow, but I decided to go at it for this week's illo. I started with this photo and blew it up a bit to bring out some details.

On a new duplicate layer, I adjusted the contrast, smoothed out the image, made it B&W, did an outline operation, then created a mask to make the white parts transparent. The purpose of this layer is to keep track of the image as I paint. I keep this layer on top while painting on the next layer down.

To help keep things less confusing, I turned the outline layer and the photo layer down to about 40-45% transparent. PSP Art Media has a "trace" option that will set the brush color to the pixel color of that location, one layer down. Since the brush is anywhere from 10-90 pixels wide, and each pixel of the photo is slightly different from teh one next to it, there is no way to get an exact duplicate of the photo and you end up with very interesting color selections.

The advantage of hand painting with the trace option as opposed to simply running the photo through some artistic filters, is that you have control over the direction of every brush stroke.

So is this painting or tracing? Well, I think it's both. It may not be as difficult as blank canvas painting, but it is still very time consuming to come up with a good digital painting. I don't think it is better or worse, just a different medium.

IF:Chair - Techniques

2006-02-05T17:18:00.000-05:00

This is from Illustration Friday's topic, Chair. Here's a few of the techniques used. I am constantly experimenting so this will be a good reminder to myself the next time I need to do something like this.

This started with the chair itself on a tan gradient background. The first thing I did was to draw a slightly rounded rectangle, then pull the point to form the basic shape of the chair. It started with the grey gradients you see in the end. I used the same gradients to add small objects for the wrinkles. I thought I was going to have to meticulously alter each gradient to make it look right, but to my surprise I only had to adjust a few of them; most were fine in the original position.

This is an exploded view of the individual objects that make up the chair. I also added border to make the shapes stand out a bit more.

The certificate on the wall is the only non-vector part of the image. This was just a quick template from MS Publisher.

The bookshelf was actually done with the chair there, so there are some inconsistencies that don't matter, since they were hidden the whole time. I started with one book, colored grey/green. To maintain the subtle colors, I simply changed the hue setting, barely tweaking the saturation and brightness on a few of them. I didn't want the bookshelf to stand out. It needs to just add to the atmosphere, but not be a subject in an of itself.

I let the trophy stand out just a bit to add some statement. This and the wall hanging represent accomplishments that kept the dad away from home. Although the words to "My Father's Chair" are directed more to a dysfuctional father, the idea certainly fits to a child who feels like they barely have a dad because he's so community involved. One is more honorable than the other, but they both leave an empty chair.

For the shaft of light coming in form the left, I made a 75% transparent triangle, converted it to a raster layer and did a Gaussian blur. Simple, but it worked. It goes quite a way toward adding a soft, dusty atmosphere.

The process that I feel made this "work" the most was the final soft-focus effect. I first tried the "soft glow" preset, but that was too ghostly and looked more like a fantasy. The "soft detail" preset worked good. It gave a more nostalgic look than dreamy.

When I first started the chair outline, I was planning to set it on the left facing toward the right. I had envisioned the light cast through an unseen window, and realized that that would end up being almost the same positioning as my "Night" illo... so I reversed it.

IF:Blue#3 Disclaimer

2005-12-11T06:08:00.000-05:00

I was talking to my brother and he said a few things that made me think about some possible clarifications for this illo. Mainly, I want to make sure that I am not taking credit for the parts that I did not actually "draw" myself, but only had a hand in the "creation."

If you look through many of my other posts, you will see a definite difference in style with this one. I don't think I could draw these characters as they appear... they would likely turn out much more cartoony than "comic book." The characters, themselves were created using UGO's Hero Machine 2. It still takes a bit of creativity to come up with the right hero/villain design, but the artists and software developers of the Hero Machine program actually did the rendering.

It was all in jest... In fact, even if it were possible to suck the color out of things, I mentioned steeling the blue LIGHT WAVES, but then referenced green and purple which are secondaries only in pigment. In light spectrum, removing blue takes with it magenta and cyan; green is a primary of light. Anyone who works with computer graphics already know that. But like I wrote before, it is all in silly fun.

The cityscape is a low-res pic from a clipart collection I got many years ago. It was legal to use. I ran that through some filters in Paint Shop Pro to try to get what it would look like without blue. The hardest part was intentionally trying to work with the RED-YEL-BLU primaries, not RED-GRN-BLU primaries. To do the latter would have been much easier since that is what PSP "likes" to do in the first place. As it is, I am not satisfied that it turned out like I imagined it. But, alas, I am in danger of taking this too seriously myself!

IF:Night - Building blocks

2005-11-05T19:48:00.000-05:00

Initially this Illo was created with vectors in PSP-X. I started a pencil sketch, but only got as far as the window and light on teh floor before switching over to digital. The original concept had the edge of a chess board in the light part. I left this out for two reasons...
(1) Save some effort :-)

(2) It was not needed. The knight is recognizable without the board... would probably have become a distraction from the simplicity of the image.

Technical error: I noticed well after posting this pic that the shadow of the knight does not match the angle that the light is coming in the window. It should have been much shorter. The illuminated area is shorter than the window, indicating that the moon (light source) is higher than 45 degrees. But the shadow is quite a bit taller than the knight, which would indicate that the moon is much less than 45 degrees high.

Even with all the gradients and shading in place, this still does not work until the background is set to black. I left it white through almost the entire edit to make it easier to see what I was doing.

Want a challenge? Try to make random star patterns. When a person tries to place things randomly around an area, the natural tendancy is to end up with an ordered look to it. In our attempts to "be random", we end up placing items at near equal intervals from each other, though not always linear. True randomness will produce clusters and empty areas. But it is SO hard to leave those spaces open or place things so close together!!

All the element together...

I had originally planned to relocate the major elements before merging layers, but it was one of those times that the way it started was the way it needed to end. :-)

IF:Remote - Spotlight

2005-10-27T09:39:00.000-04:00

I've had a couple comments on the spotlight so I thought I'd share how that was done. There may be other ways, even better ways, but this worked and used a couple less-frequently-used tools in PSP.

First of all, the remote control figure was created using vector objects. To achieve the 3-d beveling I wanted I had to go though several steps. Perhaps I'll share that at another point. I didn't save the steps, but it could be recreated if anyone is interested.

After I had the figure satisfactory, it needed to be put into a scene. To emphasize the "remote" placement, I wanted him standing in a spotlight away from any other objects/scenery/whatever.

Shadow...

start with the object converted to a single raster layer with transparent background.

These are Paint Shop Pro X screen clips, but I believe that this should work back to at least PSP-8, maybe earlier versions as well... the GUI will look different is all.

LOCK the layer transparency. This way you can only paint on the opaque parts of the image.

Then paint over the image with solid black with the normal brush (set the SIZE to a large value and HARDNESS to 100% to make it go quicker). When that is done, UNLOCK the transparency.

Use the LAYER DEFORM tool to shorten and skew the image. Hold the [SHIFT] key while dragging the top-center handle point to skew the image. Use [CTR] to stretch a corner point without move the other three corner points.

Floor Highlight...

Use a black-to-white gradient with similar settings to this:

(the pink block reads "100", but I lost the text when setting up the screen capture.)

Set the gradient type to circular and then create a vector CIRCLE (not elliptical). If it is not an actual circle, the gradient will not center properly. Convert the VECTOR layer to a RASTER layer and use the deform tool to flatten it:

(If you're a stickler for detail, you could also deform with some perspective. Hold the [SHIFT] key and drag a top-corner point inward. This created a trapezoid shape.)

Background / Spotlight Ambience...

For the background I use the flood-fill and covered the back ground with a single gradient. The key was in setting the focal point of the circular gradient. Note the "x" and "+" in the gradient preview and the "center point" and "focal point" values. To change these you will need to un-select the "Link center and focal point" box.

Then position the layers to line up however looks best.

PMB: Drawing Dojo 2005-10-08

2005-10-24T18:55:00.000-04:00

Final pic posted to Paint Monster Board: Drawing Dojo:20051022
. This is a rendering of image "A".

Scan of original sketch. Nothing special here, just copy/inkjet paper and a good ol' #2 pencil.

Traced with my mouse on a new layer.

(All digital steps are done with Paint Shop Pro X

Solid color fill on a separate layer. This lets me keep the outlines on the top layer and keeps them clean no matter what I do with the other steps.

A new layer on top of the color layer is set to "Luminance Legacy" and becomes my shading. Medium grey in this sample was actually left transparent, but that is difficult to show here.

On a new layer I dropped a few "picture tube" leaves and then stretched it to creat a little perspective.

Final composition