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<blockquote data-quote="James Heard" data-source="post: 1430319" data-attributes="member: 7280">A lot of PS work is like that, having multiple ways to come up with the same image is pretty convenient.As far as highlights and shadows go, since I work with single colors and palettes the remembering what I'm on bit doesn't bother me much.The topmost layer is almost always the diffuse highlight layer or the black 'inkwork' layer, and a layer or two down is always the shadows which is almost always some sort of adjustment layer. If I was having a really hard time of it because of weird color issues I'd probably copy both of the of the problem layers, make the old ones invisible, merge the two after linking them, and go from there. That way I could still go back if I messed something up, but I'm anal retentive that way. I've painted my current acrylic and oils commission three times already. I'd give slices of my tender parts to be able to just flip through my old layers and such with non-digital work.</blockquote>

[QUOTE="James Heard, post: 1430319, member: 7280"] A lot of PS work is like that, having multiple ways to come up with the same image is pretty convenient. As far as highlights and shadows go, since I work with single colors and palettes the remembering what I'm on bit doesn't bother me much.The topmost layer is almost always the diffuse highlight layer or the black 'inkwork' layer, and a layer or two down is always the shadows which is almost always some sort of adjustment layer. If I was having a really hard time of it because of weird color issues I'd probably copy both of the of the problem layers, make the old ones invisible, merge the two after linking them, and go from there. That way I could still go back if I messed something up, but I'm anal retentive that way. I've painted my current acrylic and oils commission three times already. I'd give slices of my tender parts to be able to just flip through my old layers and such with non-digital work. [/QUOTE]

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