Character Design for Concept Art | Siobhan Twomey | Skillshare

Character Design for Concept Art

Siobhan Twomey, Artist, Illustrator, Instructor

Character Design for Concept Art

Siobhan Twomey, Artist, Illustrator, Instructor

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20 Lessons (2h 17m)
    • 1. Promo

    • 2. Introduction

    • 3. My Photoshop Shortcuts

    • 4. Drawing Figures

    • 5. Drawing Faces from any Angle

    • 6. Exercises for Building Character

    • 7. R and D - who is your character

    • 8. R and D - gather and study visual references

    • 9. Rough Drawing Method 1

    • 10. Rough Drawing Method 2

    • 11. Final Line Work Clean Up

    • 12. Choosing a Colour Palette

    • 13. Flat Colours

    • 14. Adding Shading

    • 15. Painting the Face

    • 16. Painting the Clothing

    • 17. Making Adjustments

    • 18. Final Render

    • 19. Adding a Background or Environment

    • 20. Final Effects

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About This Class

This course is a deep dive, complete step-by-step guide to creating characters and concept art. I will walk you through the process from start to finish and by the end of the course you will have a stunning portfolio piece.  Along the way,

  • you will learn how to draw the human figure;

  • how to draw stylised characters;

  • how to create characters for animation;

  • and how to easily come up with interesting character designs yourself, all the time.

You'll also learn how to paint and add colour to your designs, as well as how to add textures, shading, and effects to really make your characters leap off the screen! If you want to learn how to draw characters, how to paint concept art for animation or games, and how to come up with characters with compelling storylines, this course is for you!

This is a course about digital painting, but really the emphasis throughout this is to de-mystify the process and show you to actually come up with ideas, how to ramp up your character drawing skills and how to ensure you have a fully developed and fully rounded character before you even begin the painting stage. In addition to that, I’m also focusing on showing you how, once you have your painting completed, you can easily add effects and final polish to your artwork to make it stand out in your portfolio .

If you are interested in animation, and working in animation, or if you’re interested in comic art, or any kind of digital art, then this course is for you.

I really want you to find success as a digital artist and have open up doors for yourself for a possible career path in animation or concept art. That’s my ultimate goal in making this course. I’m sharing knowledge and techniques gathered from my 15 + years of experience working as a digital artist for animation companies in Dublin and in Vancouver. I’ve done work for clients such as Disney, Dreamworks, Atomic, to name a few. And about 90% of what I know now, I learnt on the job working for these studios. And now I’m sharing it with you so that you can build up a stunning portfolio and get your career up and running.

I hope to see you inside the course. Enrol now and come work with me in this fun and practical course. Take the first steps on your creative journey today!

Meet Your Teacher

Teacher Profile Image

Siobhan Twomey

Artist, Illustrator, Instructor


Hello, I'm Siobhan

My background spans the disciplines of drawing, painting, filmmaking and animation. I studied Film in Dublin, and at the Tisch School of the Arts, at NYU in New York. I later studied drawing and animation. Since 2002, I have worked in studios in Vancouver and Dublin as a professional background artist and environment designer. I've also worked as a storyboard artist, concept artist, and I have directed a number of short animated films.

All in all, I've worked for over 15 years as an Artist, Illustrator and Animation Professional. I've provided artwork for studios whose clients include Disney UK, Sony Pictures Animation, HMH Publishing, to name a few.

I also have an ongoing painting and drawing practice, and I paint portraits on commission, and exh... See full profile

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1. Promo: Hi there, I'm sure. Born to me, I'm an artist and animation professional on I've Just Put Together If this complete in depth, step by step guide on character design for concept art, this course is about digital painting. But really, the emphasis is on Dean, mystifying the process off actually coming up with your character design, how to ramp up your drawing skills, that you can draw characters confidently and quickly from your imagination within minutes on how to ensure that you have a fully landed, believable character before you start painting. In addition, I also show you how to add effects on that final polish to your artwork to make sure that it stands out in your portfolio. If you're interested in the animation or working an animation, or if you're interested in comic art or digital art of any kind in this course is for you. I structured the course around a workflow that is used by professional artists in an actual studio environment. You're going to start off learning some exercises and drills that will really ramp up your ability to draw characters out of your head on. With those drawing skills under your belt, you'll move on to thinking about your concept for the final project. Now, whether you have an idea for a character or you don't the process that I'm going to show you will demystify at all so that you can go step by step through having a vague idea to having a fully rounded concrete idea for a compelling character. Then you're going to dive into drawing and I'll walk you through step by step, how to draw rough poses, how to refine your drawing and then how to take it to what's called in the industry are fully cleaned up line. Then it's all about color and painting your character and adding textures on the all important shading and lighting in the last section will also be able to add effects. Slayers play with blending modes and add the final touches that take your concept art to a higher level. I really wanted to find success as a digital artist and have doors open up for you for a possible career path in animation. That's really my ultimate goal. With this course, I'm sharing knowledge and techniques gathered from my 15 years experience working in animation studios in Dublin on Vancouver. I've done work for studios whose clients include Disney DreamWorks Atomic cartoons. On about 90% of what I know today, I learned on the job working in those studios. I don't want to share that with you today so that you can build up your portfolio and get your own career up and running. I really hope to see you in the course, and I look forward to working with you and 2. Introduction: Hi there. Welcome to the course on character design for concept art. Observe happy that you're in this course and you're about to take your first steps on this very exciting and creation journey. If you've got any questions at all, or if you would like feedback on your work, don't hesitation to send me a message before we get started in this introductory video. I just want to run through how the course is set up and give you some pointers on how to ensure that you can get the best out of us. This isn't really a course on just watching how I create concept art. It's more about teaching you processes and techniques that professional concept artist use every single day in studios. I really want you to be able to take these processes and just make them your own in whatever kind of art you want to create. So with that in mind, here's what you need to know about the course. I'm working in photo shop, but you really don't have to. The principles and the ideas off drawing and painting digitally will apply to other programs on Really, you just need to follow along with me. The technical aspects of pro shop that I use are actually fairly minimal. I'm also working with the Wacom tablet, and this is a bit of a requirement, but again, you don't have to have this exact same ones. Me. There are lots of alternative tablets drawing tablets that you could pick up for quite a reasonable price. The first section focuses on ramping up your drawing skills and teaching you how to style eyes your designs. You can take time out at any stage in the section to practice these drills and get comfortable using them. Or you can file them away and work with them later on and just progress to the next section . That one is going to be all about making sure that you know how to build a fully rounded concept before you start your initial designs. So I've left you some worksheets for these exercises on here. I do recommend just taking a few minutes to pause the videos and fill these out because if you want to work on one specific character for this course, then going through these checklists will really be beneficial. Then in the next section, you're going to start roughing at your pose for final color and paint. This will be a step by step guide through techniques. I've made a few videos that break down the techniques and the practices so that you can start using them today on your own work. But if you are interested in watching me completes my drawing from rough concept right the way through to finished cleaned up line work, there is an option at the end of that section to watch a couple of videos off just that themed painting section. I'm going to focus on getting you familiar with the best professional practices for digital coloring. Once I've explained all of those, you are welcome to watch another process. Video off coloring a character from start to finish. Lastly, I've left all the brushes and the textures that I used in this course in your download section, so be sure to look for that on download the brushes, the's air brushes that I've used throughout my professional career on I think you have a lot of fun working with them. I've also left you all of my Photoshopped files so you can open them up, break them down and sort of see how I structure them. Making character, art and concept art is one of the best ways to showcase your talent, your skill set and your imagination player. It's something that will make your portfolio standout on look really polished and professional, So I'm really glad that you're here. You're part of this course and part of this community. I'm excited to work with you, so let's dive in up next. I'll run through how he set up my workspace and Photoshopped on Explain my top tips on shortcuts that I'll be using throughout the course. 3. My Photoshop Shortcuts: So in this video, I just want to give you a quick overview off my workspace so that you're able to follow along with me if you are working in photo shop. If you're working in some other application, then you can skip ahead by all means. But in this video, I'll just explain the main short cuts that are used. So maybe it's helpful to nobody's in case. One day you do end up using push up. So first of all, I usually create a document by hitting Commander Control in on, and I will usually work landscape. Now, this year is a standard sort of legal or a four size document. Um, so the resolutions quite high and I recommend setting your documents eyes does something that at least say, 10 80 pixels with a high resolution simply because when you're making concept art, um, that can get very detailed. And you want to have the option later on to either scale it down or even to print it out for your portfolio. So keep that in mind if you if you choose an option like 10 80 by 1920 or something, just change this pixels here pixels per inch from 72 to like something quite high, like 300 to ensure that you've got that flexibility later on, then just hit. Okay, then I generally have my workspace set up like this. Um, and if yours isn't quite like mine, then you can always change your own. But I'll just show you that if you come up here to window on choose work space, you can actually see that there are quite a few different layouts. So let's say yours is this one looks like this. Well, if you want to customize it, all you have to do is just drag these panels around very easy. It's very customizable. They all can kind of slot in with each other like this. So, really, the point of my layout is toe have as much campus space as I can in order to be able to see what I'm working on and have not and not have a lot of crusher around the edges. So what I like to do is have all of my tools over here in one column on all the windows that I need to access lined up over here on one column as well. So what I do is just drag the windows underneath each other on. Really? You know, the most important windows toe access when you're drawing and painting are things like layers. You definitely wanna have layers in here. Um, history, Possibly in case you need to jump back. Andi, um, color. But I will be talking about color laser. I think any other window that I talk about later on or you know that you wanna pull up for yourself. You just have to go up to window. Look for us. If you click on it, it will pop up. But the those of the basics for now, I do like to drag my layer stack the right to the sort of to make sure it's at the top so that when I open it out, there's lots of room to see all of the layers, cause I'll be building up quite a few layers throughout my process. This is the standard viewing mode. Um, you can't. If I were to hold down the space bar and bring up this hand, I can't move my cameras around unless I zoom in and then you can see I can move it around. Um, so that's the main standard fearing mode. If you were to his F on your keyboard, it's the 2nd 1 and that does. Then you can have your campus panned around while keeping your layers stack open. Skies quite nice. And then the 3rd 1 if you hit F again brings up this view, which is very nice to sort of look at your artwork once it's, you know, much more developed, and you can see it if you want to just see it with completely no distractions in a maximize viewing pain. And then, if you want to get back to the defaults one, you just hit every game. Okay, so the main shortcuts, then, that I use for my tools they could be divided up really into two main groups. Um, the jewels that I use for creating artwork and the ones that I use for editing. So for making artwork, I will use the brush, obviously, which is be on the eraser, which is E now. Both of these can be increased or decreased in size by using the's square brackets on your keyboard so the closed square brackets will increase the size of your brush or eraser, and the open square bracket will decrease that size. I also use the last social quite a lot, and that's out on your keyboard. If you click and hold on this icon, you can see here that there were actually three different types of lesser. The regular lasso allows you to select stuff in like a free hand mode. You know the words. It's like drawing an outline around what you want to select. Then when you go back to the very beginning, you've marked at your selection on its active. The next, less so, is the polygonal, or political on, that allows you to make basic, and that allows you to select basic points on, therefore demonstrated selections. Now, to close off your straight it selection like this, you can either come back to the very beginning, and there you will see a little circle Papa blacked out on your tool, and then you know that you can close off that selection or you can also just double click midway through selecting. And that will automatically snap to the very first point that you made. And I rarely ever used as Thor Adesso. It's the magnetic one. It's kind of snaps two pixels. So it's really great when you're working on photographs where there's tons of information, terms of pixels. But I don't use it at all in this course. But just so you know, that's what that 3rd 1 is. Okay, well, once you've got an area selected, the next tool that I use a lot when making artwork is the bucket tool on that's GE on your keyboard. Just make sure if you click and hold on the Icahn, you'll see that there's a few again. There's three options. Um, make sure you're on the 2nd 1 It's just a regular paint pocket tool. The Grady into can be useful. We can get into that later, but for now, for just filling an area with color, you want the regular paint. Booker's. If you wanted to add to you, say you've made a selection, you want to add to it. You just need to hold on shift when you're in lasso mode and then you can add, you don't have to keep holding shift down, But just when you start a new selection, just hold that down initially, and that will allow you to add it or to take away from any selection that you've made. Just hold on hold or option, and that allows you to erase or take away some of your selection. Just just a point to note. Always keep an eye on the layer that you're on when you're selecting, so you might be selecting artwork from a previous air but want to be able to paint on a brand new layer way above. So just make sure that when you're ready to put the to use that paint Booker tool that you are on your new layer and not on the original artwork there. Then to de select, you can just hit command or control D, and that will release your area of selection. So the main tool that I used to edit artwork is obviously the transform tool that's just command or control T. And it brings up this bounding box with these sort of grab a ball corners. From here, you can either rotate. You can scale when you can skew. If you hold down control and command when you grab a corner, and if you wanted to scale from the center, just hold down option or Ault on your keyboard. Uh, when you grab a corner to scale up or down, then when you've done when you've made your transformation, you just hit enter, and that'll commit to it on day release. Dash bounding box on. That's really it. Oh, there's one other editing tool, Of course. That's the undo function, and that's now just control or commands said for multiple undoes. And if you wanted to, you could also go up to history on Jump Way Back in Time to an earlier state in your document up here. So in this course, I'm not gonna be using any of the vector tools. Those are things like the pen on shape tools. I'm really focused on painting and drawing using the brushes. So a quick note about your brushes I have left you a brush pack, which I hope you'll be able to open an experiment with to bring them into your photo shop. It's just very easy. You just have to double click on them, and that will automatically important into your brushes. Then you should be able to scroll down all the way to the bottom, and they'll appear as the last brushes on your list. Just let me know if you have any trouble importing them or using them on. I'll help you out, but it should be very straightforward. Okay, up next. Join me in the next video where I'm going to show you how to approach drawing to figure. 4. Drawing Figures: in this video, I'm going to show you a really, really simple way to approach drawing the figures that you can practice on work with in your sketchbook over time. And that's really gonna help you to get to grips with the structure of the human body and understand, in a fundamental way, have it moves and what gives us dynamic poses. So no matter what character you've got a mind or no matter what style off character Archie like to draw on, whether you want it focus on purity, stylized characters or more realistic looking characters. The approach here, in terms of breaking it down to a basic skeleton, is something that will help you to really bring movement on life into your characters. So I'm going to explain the structure off the normal human A nationally, something like this. Think of the rib cage or the chest area of a person as really a simple egg shape and its rounded all the way around front and back. And then underneath this shape is a smaller sort of squashed shape. On this represents the pelvis. This is all you need to get right in order to get your figures working correctly and moving in a believable way. So these two shapes on the way they dynamically oppose each other formed the basis for the entire figure. Now, what connects these two shapes is the spine on dykan. Just simply indicate that with the line, but the next two vital points that I want to point out of the shoulders and the hips. So the shoulders are at the top here, just slightly below the very top of the egg shape, and they're usually just wider than the width off the rib cage. So if you make two points here at the side of the pelvis, then this is where the hip sockets are. So you've got shoulders and you've got hips. Now, the way the angle between these will often determine the whole entire pose, I'll talk. I'll show you how that works a little bit later from here, from the hips, you could prat down the lines of the legs. A note. They actually don't go straight down, like you would think. That isn't entirely correct. They sort of angle inwards towards the kneecap like this. Okay, so I'll just indicate the knee cap or the knee area with a block on the lower leg goes more or less straight down like this to the ankle. Now I'm making sweeping statements here. Remember, I'm not showing you this system in any way to be taken as a blueprint for the figure I. This is a very simplified skeleton that you can work with in order to get to understand general movement off the body. So for the feet just draw triangles like this. Then, when it comes to the arms, draw the upper arm down to Iran. That area between the rib cage and the pelvis, the waist area. This is where the elbow generally is. It's not an exact measuring system on. Then, when you draw your lower arms and the hand, the tips of the fingers usually end up around the middle or top third of the upper neck. Then the head can be represented with a simple oval shape, and that's a full figure in its most simplest form. Now you can use this simple, manic into practice, drawing the figure in motion and getting confident, drawing the poses and I'll show you how to go about that. What I want you to do for Your first exercise is to practice drawing poses with this very pared down skeleton. You draw the rib cage and the pelvis like this in different directions relative to each other, could indicate the spine with a simple line and then add on legs and arms on that completes , you know, an interesting post, then you can add on the head. So just start with a simple line for the spine and work up from there. Try to get clear in your mind what the direction of the hips under direction off the shoulders are doing in relation to each other, and that will really help. So as I said, it doesn't matter if you start with the pelvis or you start with the rib cage here. I'm using the spine as kind of a line of action, like an s curve or a seeker of on. I'm trying. Teoh fit the pose on top of that. And maybe for this last one, the body is bending over. Okay, so I've got shoulders. The shoulders are gonna be tilting quite extremely like this. Andi, I'll make the knees bent. Remember, this is actually a very good practice drill for getting your balance correcting your joins . Use the arms and the legs to make sure that your central balance stays in check on. One way to make sure of this is just to check that the head is never really further than the feet without arms to counterbalances. So there you go. It's over to you. Take some time now or later on in your sketchbook to work up a couple of pages of prose is using this technique all very simplified skeleton and have fun with them and see how many diverse action poses you can come up with when you're ready. A legion the next lecture where I'm going to show you outer door, stylized features of the based on how to draw the head from any angle. 5. Drawing Faces from any Angle: Now I want to show you how to draw very simple, stylized creatures off the face for a male or female character on again. This is just a guy to demonstrate how to work with proportions of the face and how to simplify features. It's not a template for all human figures from now on. And in fact, I'm not saying that you have to draw your characters like this in any way. I'm just simply showing you a quick drawing drill that will really get your drawing up to speed when it comes to drawing places. So in photo shop, I'm going to grab the default hard, round edge brush as before, keeping it quite small. And as before, I'm going to set the capacity down low again. It just helps me to draw a rough and loose on. I'll start out drawing a circle like this on decide on one over here. On one's gonna be a male face, and one will be a female face sooner. From the edge off the circle, I'm going to draw a squarish kind of boxy jawline, and on this side it will be much, much more tapered and rounder jawline coming down like this. So these two shapes are basically the fundamentals or the fundamental shapes. For most realistic looking human faces, pretty much about halfway is roughly where the eye line goes. All right, Well, this line for the eye line also represents where the ear goes. And then down the center midline is where the nose will go. Now, this is a 3/4 view, so it's a little bit it's not dead center a little bit over to the right, and I'm gonna mark in the indications for the eyes without being too exact at this point, okay? And then the mouth could go about 1/3 of the way down between the bottom of the nose and the bottom of the chin. And now I can add in the hairline, which, actually, most people don't realize that first takes up quite a good portion off this entire head. A lot of people, when they're starting out, we'll put the features of the face a bit too high up. They don't realize that the hairline actually comes very low down. The features themselves only take up about the bottom half off the off the shape. Okay on to the female drawing until the ear in on. That kind of helps me figure out the orientation of the whole head. And again, I'm being very simplified and stylized when it comes to the eyes. A good tip when you're drawing female eyes, especially, is to make this top lid that but darker or heavier than the bottom lid, and that gives the impression of eyelashes on. That's quite effective again. This is also a 3/4 view, not a full on view. And then I'll draw the hair coming down like so okay and the nose off. A conventional female character is generally smaller, and if you want that sort of generic proceeded face, then you can go for something very small and upturned. A small upturn nose like that. And again, the mouse that comes about 1/3 between the bottom of the nose and the chin. So those are some general and, as I say, very quite generic formulations off, drawing the features of the face. You can practice with this style, change up the eyes, change up the shape of the jaw and see how that effects the overall look of the character. If you're happy with your rough drawing like this, and you want to clean it up, just add a new layer. Bring the opacity of the brush up a bit now so that you're working with um or darker with a darker brush. And then you can start to redraw your image, using definite lines where you know that's what you want to pick out. So I'm just really picking up the hair shapes. I'm working around working around the face to refine and perfect the line work. And this might not happen. A final drawing might not happen on this burst past. Maybe I'll do this a couple of times to get it right. But it's all about sort of working progressively on becoming more precise with each past that you do to do you okay. Similarly, if you want to draw the male face, you can see I'm just picking out the important lines. This is also going to give you some practice or drawing smooth, clean lines bore your clean up phase, which we'll get to the towards the end of the course and okay, just to recap to draw any generic looking face, you can simplify it with a circle that's going to read as a circle from any angle on a shape like this for the jaw, then a line across the boat, the midway point with the eyes on the line coming down to represent the midline of the face , which will move from left to right, depending on which way the character is looking. So from different angles. All you have to remember is that the jaw is actually a tapered, sort of boxy shape that's three d three dimensional. So just think of it as a kind of squares cylinder sort of shape that's at the underneath the round shape off the skull. If you see it from underneath, for example, you're going to see it something like this. So from above, for example, you're looking down on top of this. Go like this. You are not going to see the whole off the box Ijaw shape too much. You might just probably see the bottom of the chin on the nose, something like this. - So take some time out now, practice drawing these heads of different positions, using just these two simple shapes. See if you can get confident drawing heads in different angles. draw some heads looking up or to the side or in a 3/4 view. And then when you're ready, we'd be in the next victor. I'm gonna show you how to draw stylized characters from simple objects. 6. Exercises for Building Character: in this video, I'm going to show you one last drill before we move on to the next part of the course on this one is gonna help you come up with character ideas. So if you're ever stuff trying to come up with ideas for characters and you know you feel like you don't have a good idea, so it's no point in doing anything. This exercise will really help you to bypassed ash resistance or that block on and see characters wherever you look. Really? So the way this exercise goes is that it builds on the idea that we can work with basic shapes. So what you do is you look around wherever you are right now or look at the window. But pick and objects that you can see that you can study for a while and try and distill that object down to its most basic shape, its most basic form. I picked three objects in my room. I've got this coffee mug, a little stick off lip balm, and I'm also using this big fan. I'm going to really loosely on roughly block out the basic shape as I see it, which in this case is pretty much a rectangle. So straight away I'm started to think this could be a male character. I'm gonna add on a bit of a squarish shape for his head, and then I can put add feed on the bottom and his arm considered Go out like this, copying the handle of the mug. So I'm starting to see in my mind that maybe this characters in the suit because of the sharp shoulders. I'm going to give him a jacket like this and legs and really, it's a simple is that I just need to go in and add features to his face. But already you can see here that there is a fully believable character coming through. It is very stylized, but it's a character on the less So I'm just gonna leave that now and move onto the next one. The second object that I've got is this tube of lip balm again. This is a very basic shape. It's really just a small cylinder. But if I add legs on and maybe a funny shaped head, there's actually a character starting to emerge. This one probably female character Andi. I can add arms and If I taper the waste in slightly, then it definitely starts to look like a female character. In fact, I don't like to head it all, so I'm going to change that. Maybe give her a bit more of a generic head now that I know what direction I'm going in. And she could be holding a book or folder of some sort. There's a second character done in just a couple of minutes, so let's move on to the 3rd 1 This third object that I've got seems quite complex at first , but really, I'm just going to think of it as a round circle. Okay, so I'll roughly start with Dash and draw a big round circle shape for the main body on ad again, just little feet at the end. Remember, I'm trying to stick to basic shapes and to prioritize that shape throughout the whole character. So that's why I'm keeping the legs and arms a bit small. That's why I don't really focus so much on long limbs or detailed limbs. I just want to prioritise that big round shape. So now I'm thinking that this looks like a character of a boy. Maybe, maybe He's wearing a funny hat. Um, and I can even reference those blades in the fan on the top of the hash. So very simple, very easy and rough. But here's the basis for 1/3 character. So now I can look at all three sketches and start you find them and read, although if I want, if I think that there's something interesting here on my usual process, as you probably know by now in the layer stack, I'm going to drive the rapacity down this layer so that it's a bit faded out on our make sure to lock us so that I don't drawn us and I'll add a brand new layer above it. Now I'll zoom into this guy on just start to redraw just by following the very rough drawing underneath. This is still loose and rough this past. I'm not doing a final, final, cleaned up drawing. I'm just making some adjustments. Andi really kind of searching out whether destroying is worth bringing to final stage. - Wait for FEMA character. You get the idea by now. It's actually really easy process. If you start out very, very rough and very loose, it's all about practicing. Eventually you'll get good at knowing what sure hand to use for things like features of the place. But you will only get there by practicing a lunch. And so in exercise like this is really, really good, because you kind of don't necessarily even have to think too much about character about personality storyline. You're just looking around your basic shapes and using that as a starting point. So those are my final three characters. Now, if I wanted to, I could choose one of them and really work it up to finished colored detailed drawing. But that's not the point of this exercise. The point really is to practice it. So what I want you to do is maybe try it out for yourself, give it a go, give yourself maybe about half an hour on practice time on June 12 objects and see if he could use them as the basis for a really interesting, a cool character. Then, when you're ready, meeting back in the next video, where we'll start working on your ideas for our final project, I'll see you then 7. R and D - who is your character: So now we get to the section of the course where you're gonna work on your own character. You may have a very clear idea of what character you want to work on or you made at the States. Have no idea off what you want to do. That's totally fine. There are two steps that I'm going to talk about in this video. So if you do have an idea off the exact character that you want to duel and things you can just skip ahead to step do. But Step one will really help you to come up with some kind of an idea to to start working on. If you've got no to whatsoever about the character, then this is step one. So I want you first and foremost just to sit back and think about the kind of movies, the kind of books, music or arts that actually inspires you to think about what you like to watch, what kind of films things like that interest you. So, for example, you could love watching films off like a or Miyazaki those Japanese anime films. And then, if you think about them, then maybe you could imagine for yourself. A character of a young kid, a girl or a boy in an everyday situation, at school or at home. Andi. Then they Something extraordinary happens. Them they get propelled into a magical world. Well, right there, you've got a very compelling idea for a character. This is just a very good general way to come up with ideas if you're feeling of it stuck. So once you've got a very character in mind, the next step is to come up with what I call a character profile. So this is actually very important. Um, I would encouraging not to skip rising down a character profile before you move onto painting. The first thing that I want you to do is to come up with a name for your character. It's actually very important to name them. Your character has to have a name until he or she has a name. Their personality. You just won't come through as strongly. So take a few minutes and think about an egg. Write that down. You can change it later on. That's not a problem, but just for a starting point to come up with something that you can work with that you're happy with right now. Once you have a name, then I want you to write down what age they are for the young sort of middle aged, old, extremely old, ancient. Put down some kind of ah, rough number for what age they are on next. What you're going to do is list some of their physical attributes. So do they have pink hair? Are they very, very tool? Short squats round things like that. Just general, you don't have to get specific. It'll very general ideas. Poor physical attributes again. As I say, this could all change when she started drawing. But you need to have a starting point for your drawing, so it's gonna help you not to at least get started. The next thing I want you to do is move onto their appear appearance. What do they dress like? Do they dress like a Viking, a samurai schoolboy? Think about their clothing and then finally, you can write down some character traits. You don't have to describe them completely. Just say one or two things. Are they brave, fearless or very timid or shy? Are they fundamentally flawed in some kind of a way. So that's your character profile, and you don't have to overthink it. As I said, you don't have to write paragraphs for each of these titles, just one or two words to give you something to start working on. In the next video, I'm going to talk about your visual reference. So once you've written down, you're a character profile. Put it aside. Meet me in the next lecture. Where was going to start talking about how to build up a library or a mood board for visual reference? 8. R and D - gather and study visual references: So now that you've got your character profile, it's kind to connect visual reference. This part is as important as large and down your character's name and personality traits, and I don't want you to skip it on. I also don't want you to misunderstand the step. It's not about finding images that you can copy. It's really about finding inspiration. So what I mean by that is, on the one hand, you do need to reference other forms of art to open up your own creative G on. Allow yourself to maybe take that as a starting point and develop your idea. And then, on the other hand, you also need some very solid structural reference that you can work from so that the stuff that you draw it's believable. For example, if you're drawing a character that has a Viking shield or helmet or some kind of in a very specific paraphernalia, you could make that stuff up completely out of your head. But then, when people look at your very unique made up things, they might not get us or they might not really understand what it is. But if you referenced the stuff that you're drawing to see exactly how Shiels work or how armor fits together, Um, and then add your own flair. On top of that, when someone looks at it, then they'll get it. I'm not understand what it is that you're drawing, so designers everywhere do this. This is always a start, the first step. Sometimes they'll call it a mood board, where they gather all kinds of visual reference, even color schemes, and put it all together in one chief so that they can look at it and just absorb all of that information. They'll take images off anything and everything vaguely related to the project that they're working on on bail correlation together into one visual collage. Then, once you've done that on, you've gone through this whole process that I'm insisting that you do right now, I want you to put it away on. Actually, don't look at it anymore, So the idea is that you get all of your visual reference and all of your images. Study them, let them also get to your brain and then put them out of your such because when you start to draw, I want to just start fresh from your own natural attitude of point of view. Then you'll see something exciting starting to emerge on. He'll be. It will be all the richer for the research that you've done. 9. Rough Drawing Method 1: I've already got an idea for the character that I'm gonna work on. She's a kind of like a female space superhero, a little bit all gray from Star Wars meets Katniss, with some Captain Marvel thrown in. Not entirely sure yet, but that's the general direction. Those characters, anyway, are some of the influences that I've been looking at. So it turns out my idea is quite a realistic looking character. But that's just because I wanted to make sure that when we get into the painting process, I've got something a bit more conventional to work on so that you can see how I detail things out and how I work up a realistic looking posed. But you can definitely work on a stylized character that's totally find the process is just the same. So when you start to develop war drawings for your character final character design, there's two methods off rough preparatory work that I want to walk you through, and you can choose either one, whichever is best suited to you. Basically, what we're doing in these rough sketches for this video and the next one is we're trying to identify our character through the poses that they would take. So I'm going to jump into Photoshopped on this first method is just really about letting the lines brun free and loose around the page. I'm thinking, obviously, my characters, quite a warrior types of Maybe she's holding a sword and we put her in a stance like this, and I'm not trying toe pick out any details at all. It's just a very loose and rough sketch based on the profile character profile that I rode up on. Also based on some off the images that I've been looking at in terms of reference. Okay on with that Don and moved out the way, I'm just gonna quickly move on to another one. Maybe in this pose, she's striking with her sword. So again, it doesn't matter. The proportions and things like that aren't really that important at the moment. It's trying to get a good civil wish, so silhouette and character design means that you can read exactly what the characters doing. If you were to block it out completely on, just see it as a black shape. So that's what you're aiming for is strong silhouettes, strong poses in this 3rd 1 Maybe I'll just do it standing up a little bit more while I'm joined this. I'm starting to get the idea off what her armor or her clothing is gonna look like. So now I can start to be a little bit more specific. For example, in my character profile identified that I wanted her toe have these strong shoulder, shoulder armor and, uh, belts and boots. Okay, so this one is looking quite This one's looking market is starting to come through a little bit. I might be working on this one later. I'll just do one more pose in this method and see if anything jumps out. So you get the idea. I'm trying to draw different poses. Let me see. I'm trying to draw to make as many different poses as I can at the beginning, so that if something new does jump out at me, it's much more likely to do so when I'm drawing in this way later on, you'll be for to sort of stash on your idea and a bit more rigid, and you won't be able to necessarily let those kind of ideas come through. So this stage is actually really important Okay, So if I grab all of these sketches now and just put them out of the way, I think I might just do one more final sketch based on these drawings that I've come up with. And I'm thinking I'm going to just do her standing up just so that I can work out some details on her clothing on what that looks like. I shall leave it at that. For now. Dispose, I think for me is actually probably closest to what I want to work on for my final character design. So I'm going to keep this one for now and I'll come back to us. But I want to show you one other method off developing your roofs, and that's in the next video. So meet me there and we'll do the final rough exploration. 10. Rough Drawing Method 2: So the second method off developing your rough sketches really is all about using shading and total values to build up your character poses. And you might prefer this method to the previous one that I showed you. If you're a bit more painterly or sort of approach of work in terms of seeing Shadow Liszt just like before, I'm going to roughly start blocking out silhouettes. So in this instance, I want to see a bit of an action pose coming through on the character. Maybe she's running again. No details whatsoever. Just pure shape, your son. A wish The details will actually start to come through those tonal values or by themselves , which is quite a nice way. A nice thing about this method off developing roofs for posing. This is really, really good. I'm not concerned at all with what the character looks like or what's happening. I'm really concerned with action and motion. Um, I'm thinking this brush isn't great. What I'm going to do is just switch over to a soft, just the regular, soft edged round brush, one of the default brushes, and that's a lot better. So I really need to be able to see those tonal values building up progressively. It just makes the whole thing a lot more suggestive, a lot more open to interpretation. This might look like absolutely nothing at the moment, but that's totally fine. The more you look at these things, the more you can start to see shapes and see details emerged by themselves. So let me move these guys out of the way, and I'll do a couple more with this soft edged round brush. So now gonna work on just a regular standing pose. By now, we've pretty much got an idea off, Sort of who this character is through these through this exploratory work. So I'm going to start to lead a bit more towards a conventional standing pose. They will just do one more over here. All right, so that's good enough for me. The next thing I'm gonna do as per usual, is to make a new layer on top of thes rough, uh, tonal layers on top of these rock tonal drawings on I'm going to switch over to, ah, hard edge brush now so I can bring the brush size down quite a bit. Andi, I'll still keep the a pastie load. But now, with this more that precise line, I'm gonna work around this shape on the sill a wish without doing too much more to it. Because I don't want to spend too much of my time now in the stage drawing details. I'm actually gonna pull back now and stop myself from really overworking us. That's I'm very happy with that. I'm going to stop right there. And in the next video, I'm going to look at all of the rough drawings that I've done up to now and take the elements that I think that are working in each of them and trying to still them down into one final rough drawing. So have a go at this method using shading on blocking out your silhouettes with tonal values. See if that works for you on. Then when you're ready, meet me in the next sector and you start to finalize our character design 11. Final Line Work Clean Up: so I'm just about ready to clean up my drawing. But the very last thing I want to do on this rough drawing is obviously add the features of the face. Jenna's face is going to be a little bit stylized, kind of simplified, stylized facial features. Because this is still my rough phase. It's definitely still no, uh, very hyper detailed. Okay, so that's looking okay to be for the face for now, on at the stage. This is a very good stage to make some very final adjustments. If you wanted to change anything, like, for example, I don't think her shoulders air correct. So I'll just make that little change there. What? So I'm going to leave it now. That's my rough drawing completed. Now that I've got that phase done and dusted, it's time to move on to the cleanup face. So an animation cleanup means cleaning up your line work so that it's just one smooth, very, very clean and precise line all the way around. So for concept art, you know, your nine work might not really survived through to the very end situation where you've got your final concept painting. But for something like comic books. You might want to keep your line work as part of your final character design. Let me show you exactly how you would go back that if you wanted to keep your line work, aiming for a very clean and crisp single line. And there's a couple of tools that I want to introduce you to now at the stage that will really help you with this cleanup face clean up can be a very tedious process. I'm not gonna lie. There is a surprising amount off undoing. You're gonna find that you'll draw a line on. Do that, draw it again, undo it, draw it again until you get it exactly right. But that's just part off the process. The one option that you you have is to lower the capacity off your rough layer down and then start drawing on top of that so you're using your off layer as a guide and drawing on top. The other method that I like to use is Joe. Lock transparent layers, so in the layer stack. If you click on this layer and just above it, you can see that there's this icon here with the grid if you click on that. What that does is it locks all the pixels within that layer that don't have marks on them. So what that allows you to do is to choose another color, completely increased the brush size and basically paint over. So that just basically changes the color of that drawing completely. I like to do it like this because that means then that I when I go to draw over them, I got the blue layer underneath, which is very distinct from the black thinks that I'm using on top. And it just helps me, too, make the differentiation or a bit better, I for my final clean up line. I'm gonna use a very, very dark black and keep your pastie quite high on then just using as clean a line as I can . So from here on out, it's a measure off, being patient, aunt, taking your time and working around the whole drawing to get those nice clean lines. Okay, so the next step that I want toe tell you about for cleanup is to use the rotate tool. Sometimes it helps just to hit R on your keyboard, and that brings up this rotate tool, which you can then rotate the canvas around to suit. You're to give you an angle that suits you better for a straight clean line. For me, it often happens that I can draw a straight line bottom left to Top Price, and so I'll use the rotate to a quite a lot to make those kinds of lines. The next thing that I want to point out is, don't be afraid to adjust your line work with the transform tool. This is actually a very, very useful thing to do. In other words, if a line is correct for weight and smoothness, but it's slightly off in terms of its position, then just use the lasso on. Select that section of line hit, command or control T on your keyboard on. Then you can nudge it into place or slightly changed the orientation. The other thing you could do, which is really useful, is that if you're if you're lying, needs adjusting in just one area, it command tea and then go up to this, uh, little icon here, which turns on the warp grid. And then you can actually push and pull your line to make those incremental adjustments. I wouldn't use this to in large chunks of lying work. Certainly not because it'll it'll definitely distort your line work. But if they're small areas that could use adjustment and you don't want to redraw it again , that's a very handy tip. So I'm gonna carry on making my final lowering work for these drawings on this might take me a couple of passes. I won't necessarily make my very final cleaned up line on this pass, but, um, at least I'm getting closer and closer each time you might have to do one cleanup pass and then a final final cleanup want, so just bear that in mind. So those are the main tips and techniques for cleaning up your artwork, and I hope that they're helpful and they help you in your process. 12. Choosing a Colour Palette: in this section, we are going to start painting for riel on. I'm going to talk to you about how to choose your color palette. How to mix your colors with your brush on a couple more sort of tips and techniques for setting up your colors before you dive in and start painting. So here's my final character design. I made a couple of tweaks. My final final final tweaks. Basically, I decided that the gloves on Jenna weren't working for me. They looked a bit to police E, so I wanted her to have a bit more of a renegade. Look, I just added thes letter forearm protectors. I also made some tweaks to her hair. I feel like this is completely finally I'm locking it off. I'm not going to touch it again. I'm going to get ready for painting. The first thing that I always do when I started out painting is I want to add a neutral gray background. The reason I do this is because using colors on a pure white background that colors will tend to look a darker than they actually are. Andi, also, if you paint on a very black background the colors might look brighter than they actually are to a neutral gray is the best background to work on. So in my layers stack, just add a new layer on. In fact, I can actually delete this back on layer because I don't need it anymore. Fill it with gray, or it could have just fill that background layer with gray. But either way, I will lock this layer and then I'm going to go over here and double click in these swatches to bring up my color picker. So this window is the default color picker in Photoshopped on mine. Probably looks a little bit different to yours on that simply because I've got mine set to s for saturation. Maybe yours is on H, which stands for Hugh on. It will look a little bit like this. So I'll just explain the difference between those two settings because it's it is useful to know kind of demystifies it a little bit when you are. Sit on H. Essentially, you use this picker. You can drag us all the way across this window here to select basically different degrees of saturation or off brightness or darkness. So moving from top to bottom will affect the brightness or the darkness off the cult off the color and moving from left to right will affect the saturation. If you want a very de saturated or highly saturated to choose the here, you just move the slider up and down. So I have Mindset s because I like to be able to look at all of the colors at once when I'm picking my colors. I it's just what I'm used to. This gives me all the colors in the spectrum as I move my color picker left garage, and I can choose the brightness to the writers to the darkest color by going from top to bottom within that range. And then if I want to adjust the saturation, I just move the slider over here on the right, so it's up to you, whichever you feel more comfortable with. But there's one other option that I want to show you in terms of your color picker in your workflow. It can be a little bit annoying to have to always come over to this swatch to double click in order to pull up your color picker. There's another option that you can do on now as if you go up to window and choose color. Then this window pops up and you can. You can leave this open as you work. So this one looks very different. If you wanted to, you could go up to this drop down menu and said it to Hugh or to brightness. But I like to leave it on this setting because it's the color wheel and it, you know, at a glance I can see complementary colors, and I can adjust the brightness and saturation sliders at the same time up here. But I'm not gonna worry about this window for the moment. I will be bringing it up later when I am painting and getting into more detail. For now, I'm just going to use the regular color picker. I just wanted you to be aware of it so that you know how it works. So the first thing that I always do when I start painting is I choose a color palette. This is very useful because it keeps you sort of focused on a color scheme, and you don't have to start guessing later on what colors to use So all the essentially do is on a new layer. Grab a texture brush or any kind of rush. Sweetie, don't worry. I'll be leaving all of these brushes for you that I use from now on in your resource is section. The first color that I want is I'm thinking a darkish blue on a dark brown. I also want to gray. I also want a darkish kind of army greens, and lastly, I think I want an accent color, maybe a nice read. Next, I want to show you a couple of short cuts that I'll be using for the next while one is how to blend colors on the other is how to switch brushes while you're working. Blending colors while you're painting is actually key to the painting process that I'll be teaching you. What you do is when you're in brush mood, you can lower the a pastie of your brush as this helps you to build up tone consistently and when you've got two colors that sort of meet and overlap. Basically, you've created a new color while still in brush mode. Hold on the old key on your keyboard, and that just brings up the color picker. You're able to inter sample that new color. Let go of old and you're back into the brush if you know what I mean, and you can carry on painting and then you can sample tricked the new color paint sample. Eventually, it gives a very natural and cohesive wary off blending colors across a Grady int on. Then to change brushes while you're working again, you need to just stay in brush mode, right? Click anywhere on your canvas and that will bring up your brush menu. Then you can scroll through your brushes or just come up here to the top and you'll see your most recently used brush. You can click on Nash just the size if you need to on continue working. The same actually works for the eraser tool Took a hit E on your keyboard. You can right click and change the shape where the properties of your eraser and continue working so those are some very handy work flow options. I hope you'll find them useful if you haven't if you don't know about them already. The whole point of this is that I wanted a de mystify a bit of the coloring process for you because it is actually very straightforward. Believe it or not, all of the hard work has been done. Getting that rough sketch phase over and done with and cleaning up your line work. That was really the hard phase. From here on out, it's actually quite easy. It's very simple and straightforward. I'll see you in the next video plea will start going through some of the painting techniques and processes. 13. Flat Colours: in this video, I want to show you a way to create a completely flat layer of color that will work really well as a base layer for adding texture and shading later on. If you were to dive in right away and start brushing on layers of color and shading on adding texture, you'd very quickly run into problems, and it would take a lot longer than the process on the show. This method that I'm about to show you gives you a really efficient system of calorie on, but also lies you to change up. Color is very easily with just a click off the docket. What you want to do is select everything within your line work so that you have one complete silhouette off your character. One way to do that is to use the lasso tool and kind of work around all of the outer edges carefully, carefully selecting everything until you have dash complete silhouette. But there's a much easier way. The only thing is that it really depends on whether or not you've got closed lying work. So if there's any gaps or openings in your line, work around the outer edges. This method won't work. Hopefully your line work is closed. Then just make sure that you are on your final line. Layer it w on your keyboard to bring up the magic one tool and click anywhere on your canvas outside off the line, work that's going to select everything within this area. Then you go up to select Jew, select in verse, and now everything inside your character is selected, even those intricate small areas or areas that have open lines or gaps. So now you want to have this entire area completely filled with a flat color, and I'll show you why. Nature. But so I'll go with this neutral gray. It doesn't have to be great. Could be any other color. But for the sake off color selection that I talked about earlier, I'm gonna go with Gray, and then I'm going up here to my layer. Stack on appear, click on block transparent pixels. Now I can paint over the great color, and it will only paint the area inside the lines. So it's a quick and easy way to start slowing down your flat black colors for skin tones for the colors up her uniform for hair things like Dash. Since there are a lot of smaller areas to be covered, I am going to use the last social quite a bit. So, for example, with her hands, I'll select them using the last O'Toole like so and note that I don't actually have to select the outer edge of the hands. That's because that boundary is defined by the notch transparent FIC pixels and also because of the great flag color. So therefore, I can use the paint bucket to just food that area. So I'm selecting the hair now. Onda gonna use a brush, I think, to brush on the hair color that I want, which is gonna be this brown colored ive obviously missed it, but there were her ears. But there's also a gap on the board. So just I'm gonna go to select in verse, which switches around on, then select the skin color and patched that up. Then I'm going to switch to a different brush a think a hard edged brush and bring the size of that brush down and paint in where the ear should be. So when you're making your selection, remember, I explained earlier how to switch between the regular lasso on the polygonal lasso. So the regular lasso allows you to make a free hand line work or freehand selection. And then you could just hold on old and switch across to the polygonal one to get more precise points of selection. So it's really it's a measure off working your way around the whole drawing in this way, years the lasso tool. Don't worry too much about the outer edges. Paint within your selection, and then you can go back and do touch ups. Andi, you could fill up areas that got missed with the brush were paint in where two colors meet quite filled to the very, very edge when you are filling areas with the bucket to, as I said before, make your selection and you don't have to worry about the Irish edges. But you also don't have to worry about colors of in your selection. For example, when I'm filling in her top here, if you know just I don't have to to find the areas around the shoulders or the color, either with the strap because they're already defined by color already. Just make sure that it could come up here to the very top in your When your bucket tool is selected, make sure that tolerance is set to zero, so that will allow you to use the bucket to fill certain areas like that. So that's how you can work around and complete the whole of your flats layer. If you don't like color, you can just use the bucket tool to tap into it to changes on at the end of the process. You've got a completed flag color for your character, and you're ready to start adding texture and shading on top of that. 14. Adding Shading: in this video, I'm going to show you how to add shading. Very simple shading passed before we move on to final paint. So I'm going to zoom in on add pretty much a darker skin tone around here, and then from there I'm gonna brush on some highlights on because I've got my color polish over to their left. I can select from there. Maybe I'll bring down do your pastie a little bit on brush in like dash. Now I don't want to go to Bright, so I might tone that down slightly with a bit of a mid tone. The highlights I usually keep for the very, very end. So this is just more about putting down in mid tone. But what I want to do is define the areas off the face where there is going to be shading or shadow on. That, in this instance, is going to be on the left. So I've already sort of decided in my mind that the night source for my peace comes from the top. Bryce. There's no really kind of hard and fast rule about picking where you want to light your subject from you can like your subjects from any angle. It's up to you, but just in terms of making a sort of a pleasing image or, you know, prioritizing features of the face, for example, I would always go with just a a general top price sort of lighting direction. So with that in mind, I'm going to ensure that the left side of the face will be slightly darker. Ah, no reserve, sort of the lighter areas for the forehead, nose on and the cheeks way . Remember, the priority here, for me anyway, is to get a very simple shading past done so that I could move on to some more detailed line or detailed artwork. So with that in mind, I'm going to just place quite a simple area off Lijie area of shading over the lower half the body and fade out those trousers a little bit brush on some very general, very like shading on to the top. This is gonna give me the opportunity to see the left hand side has being much darker. So I'm just keeping that in mind As I go left hand side is gonna be in shit in shadow brush and Side's gonna have a touch of highlight All the while, I'm just using pretty much of soft rounded brush it by. I'm switching between dash on my cartage brush, so wherever there's like a bit of an extreme contrast, like over here on the arms or where I was at the neck. I often like to put down a darker color for the shading and then switch to my soft edged brush to blend it in the way I showed you before with blending colors on your brush. And that gives a nice mid toad and allows you to I could look a little bit smoother and they will be shadow under the gun and under the belt. And then the last thing I'm going to show you in this video is a way off adding shadow that I do quite a lot. I sometimes switch to the last so, too, so I've made a new layer. I'm actually working on a layer above this, but with the lasso tool selected gonna draw out where I want the shadow to be so the left hand side of the leg brush on a darker paint on to that. And remember, I'm on a new layer. So that means that I could now go back to my layer stack. If I go over to the flats layer, hold down, command or control on my keyboard, click into the thumbnail icon off that leg off the flat layer. And what that will do is select everything all the contents off that layer. Then you can go up to select, select inverse on, delete the overlap or departs that you don't want. I just do that again for you on this leg so amusing that s 02 Then I'll just tap into that layer on top, come down to my flats layer, which remember is like this one cohesive unit off color. Hold on control or command on my keyboard to select all the contents, go select in verse and then delete the stuff that I don't need. Now the other useful part about this is because this is on a top player. I can actually switch to the eraser to and knock this back a little bit because it's a bit dark. He was goes and that's fine. So that's a very basic shadow pass. I'm happy enough with Dash. It's enough for me to now move on and start working into more details with texture and with highlights on what I'm going to do for the next phase is actually start painting above the line work. This is gonna end up with that much more painterly effect on bond, much more nuanced and fully rendered a final product. So hopefully everything that I covered in this video, in terms of just during a basic shadow pass makes sense to you. If it doesn't, please let me know. Please send me a message or send me in some of your work. If you want me to have a negative on, give you some feedback. If anything is unclear, it'll any of my keyboard shortcuts or processes let me know and I'll re explain. Otherwise I'll see you in the next video, where we're going to start working on the final render 15. Painting the Face: So in this video, I'm going to start dialing down into the details on specifically the details off the face. I want to walk you through a bit of my process or when it comes to blending on painting that kind of finessed on detailed look. Plus, I'm also moving on to painting over the line work for the stage because the final render that I want output is going to be a very painterly concept art type of look and feel so on my layers on making a new layer above the line work. I'll zoom in now to start working on details. So the first thing I'm going to do is just ploughed out some highlights for the hair just to give me that sense off the light direction again, I'll probably choose a hard edged brush. Andi. I'm just going to put some highlights at the top here because this is where the lights going to be coming from. For this stage, don't get caught up in trying to draw like every single strand of hair. Think of the hair in blocky shapes on. Try to visualize the sides of those shapes that are going to be catching the life and similarly with the face, try to think. Try to break it down into planes. Andi basic shapes that you can easily then visualize where the life is coming from. - Okay , so now I'm starting to paint over the lines. As you can see, what's important to me is to really just keep that impression off. Tonal values on color really to paint over those dark lines and give it a more realistic look, - I'm keeping the lips a fairly neutral color. I mean, later on, you could probably look at tinting them a bit pinker or a bit redder. But when I started out, it's always nice to keep them very neutral, sort of just a darker tone than the skin tone. The underneath of the nose is usually always in shadow because obviously it's facing downwards, so just bear that in mind on the top of the noses where it probably receives most life. But then you also have to account for variation in skin tone, so some people might have quite a rosy, a rosy kind of tip of the nose, even though that's where it's going to be the largest part of the face. So it all depends on the image that you're referencing as well and the specifics off the face that you're trying to paint. As you can see, it's very rough, very patchy. And that's what I quite like. That's the way I like to work. Later, I'll come back in and blend them up with soft edged round brush put for now, this kind of painterly, blocky way off applying color is kind of works for me. So the eyes will generally say, if we're talking about the eyes in terms of a blue color, they'll generally have a darker shade of blue at the top and Elijah Shade down here, someone a large enough the bottom of the eye of the iris. Undo it on the side as well, then darken it up. And just for that top edge, because that's where there's a cast shadow coming down from the eyelashes. Okay on. Then you can just indicate a bit of ah, highlight in the eye and the people of the I. Usually the highlights for the pupil will always be in the direction where the light source is coming from. Okay, so keep going. Make the lower lid a bit darker, blended in if I can. And so bit by bit, I'm working to replace the black heavy outlines with more of a painterly, a bit more of a painted look. So right here what I'm doing is and painting actually outside of the lines and then using my inverse selection option to delish any of that excess. I'm just going to darken up the lips slightly, make them more defined. If I pull back now, you can see the features of the face are coming together quite nicely. I'm starting to move away from that outlining, look on and have a more polished, more finished rendered look, which is quite nice, which is what I'm going for ultimately for the tidy up the eyes here, Andi, just make the the whites of the eye come right around. People so bit by bit, is coming together. And of course, I'm terrible. One for getting sort of stuck into minute details. It's always I would recommend that you try and stay as pulled back as zoomed out as he can , and not do a North A lot of work this close and assumed it. It's fine to coming close and do your details, but you want to be keep referring back to that, um, full image by zooming back out and looking at your work from time to time. So for me, the stage really requires a lot of careful patient painting and blending on. Maybe if you are at the stage, then I would suggest that you just take it a slows. You can give yourself enough time to really see what works and what doesn't. And look at your reference image a lot. And remember to think about what direction that no light source is coming in. That's all important. In the next video, we're gonna move on to working on the rest of the body in the clothing in particular. 16. Painting the Clothing: Okay, so this next part of my process is going to be all about painting the clothing. And again, just like when I was painting the face. I have to try and think about the light source because I want to give that sense of three D sort of realistic look to it. I don't want flat colors. It's about making sure that my shadows and my highlights are in the right place. First of all, I'm going to rearrange my workspace a little bit. I'm going to start working with this new layers and car window, this one in particular which has the complementary colors along the color wheel. And I'm going to drag my layers down, Blowers Okay on then, picking and choosing from my polish over here to the left, I can get to work, and again, I'm going to start refining details. I want to knock back this very thick heavy outlined on. So this really all comes down to judging the tonal values, finding my shadows, painting those in for the edges on, then picking out highlights. So, for example, the back of her caller is going to be in shadow on on the Russian side here is well, that will be in a deeper, darker red than the rest. But I'm going to keep some variation and tone, so it's not a flat, completely flat color. On the same goes for underneath her armor or her shoulder armor. I can use the dark color to indicate shadows, but again, I don't want it to be completely flashed. So I'll just not that dark back a bit on blended in with a bit of a lighter tone. Okay, now I'm going to move on to the top on. I'm just going to block in some shadows where the spell might be, or the strap. And when you're working like this, sometimes with creases and the clothing for shadows, it might seem very easy and straightforward. But when you painted in, it looks really flash eso. I want to show you one very good tip that will help you out with making your shadows pop out. I'm going to just really enhance that dark tone for the line going down, but then I'm going to switch to a smaller brush with a much, much larger tone and pick out one line off brightness just on that edge, and that, essentially, is Thea Edge. That's catching the light before it falls into this. What's called a shadow off occlusion, meaning that there's no life in that shadow. If you buy Zoom back now you can see how effective that is, so that's a really good tip. Whenever you've got a deep, dark shadow, just putting a little bit of a highlight next to it works wonders for making something look much more realistic. Now I'm just going to tidy up this shoulder area and try to knock back any outlines. And then when it comes to the Littles, I pointed very useful to do a darker color around the edges, off the arms and even areas like fingers and hands. Just because that adds to that really gives you a sense. All the Ryan form off the arms. If you think about the arms is a cylinder, then life will be falling away as the forms move around. So what you can do is put a darker tone along the edges and then use your blending brush to work it up to Elijah Tone going down the middle, and that will really give you a three D scents of the shape. Okay, I'm actually I've decided that I don't like the way her armed guards go all the way up above the elbow. So I'm just really on the fly, going to paint them out over here and just want to paint in, like I'm imagining that she could have arm wraps or bandages underneath her arm guards. So I'm gonna paint those in just a new bit of a neutral tone, raise out the parts that I don't want, and then I'm gonna work in with a smaller brush, gonna work in some creases or, you know, where the bandages are overlapping. And this is another example where I'm going to use a lot, much, much lighter tone just to highlight the very, very edge. So bit by bit, I'm working up my tonal values, making sure that I'm making the shadows on the highlights sit nicely together, bringing in that extra touch of highlight where I want the lights to be falling and then making sure my shadows were in the right place. And it's just a matter of working around the whole rest of the figure in this way. Switching from ah, hard edge brush to a soft round brush to blend it in. There are a few areas which will take me quite a while to work up like, for example, the creases of the pence in this section. This is usually it would seem very straightforward, but to get it looking realistic takes quite a while going back and forwards, working it up and then blending it back in and working it back up again. But I'm fairly happy with that. So far. I think that's heading in the right direction, generally, when it starts to feel like it's getting, I'm getting lost in details, and I'm not quite sure how to resolve what I'm working on. I try to step back and just think in terms of two or three tones and think again about, you know, if it was just a basic shape like cylinder, where with the highlight be on where would this fall off with the shadows being on then on that house? Me to sort of gets to get it right in the end and here just making some adjustments and fixing my drawing in English I didn't know to write on. I'm going to add in I think a bit of a red stripe that, you know, accent color that I chose just going down the side. So it's looking all right, The only thing that's really bugging me or the boots, but I'm gonna fix them a little bit leisure. The last thing I want to do in the arms is fixed or finish up thes armed guards on. I need to paint in a buckle over here on for that, I'm not even going to make it too complicated. Three basic tones. I want toe kind of neutral tone for the mid tone. And then I use a darker gray for the shadowy bits on a light tone for the highlights. Okay? And to fix her boots, I've decided just to make them one basic. Uh, Brian better boots. I'm not gonna have the the foot guards that were on their reform in the paint goes out, and I'm trying to make it look a bit leathery and a bit distressed. Although I'm not gonna worry too much about it because in the next section, when I get into adding textures on top of my painting, then you know that will really give it that weathered on worn look and feel them trying to go for. So for here, I just want to get the tones right on. Get a bit of a highlight going. I think that should be it for this past. For this color pass, I think that I've got all my values and tones in the right places. Andi, I'm ready to move on to the next place. So in the next sector, and I'm going to show you how you can start adding texture to your artwork. 17. Making Adjustments: So before I start on my final render and I start adding texture and final lighting, I just want to quickly show you a couple of techniques that you can use for making very small, minor tweaks to your artwork when you're very, very close to finish. First off, when I'm pretty much as satisfied as I'm gonna be with my painting past, when I'm when I'm sure that there's not much more I can do in terms of paint and shading, then what I want to do is to be able to make these small, incremental adjustments on the final image as a whole. And to do this, I need to get all of my artwork flattened down onto one layer so that I can make changes to the whole thing. But I don't want to lose those layers either, in case I need to go back in and change something from an earlier stage. So what I do is over here in the layers stack. I'll just grab everything in here, its command or control G on my keyboard and turned this into one folder. Then I can double click on on the name of that folder and call it whatever I want. I'll rename it artwork layers, then click Command or control J to duplicate the entire folder. And now I can hide this original folder. Forget about it, for the moment. A mess. I need to go back to an earlier stage, and then on this top one, I'm going to double click again and I'll rename this one character, and then I'm going to right click onto that and choose merged group. Now, I've got one flat layer as a whole. And if I make any adjustments, the whole thing will be adjusted as one. Okay, so what kind of adjustments would you want to do now? Well, one thing that a lot of people like to do is to use the liquefy tool to make very small tweaks to sort of pull and push edges off your work. Um, so if you want to try that out, you go up to filters from here. Choose liquefy, and that brings up this whole new sort of interface. You can zoom in if you want to. And just make sure this to here is selected. Then you can actually push and pull, uh, contours of your artwork, if you if you if you need to. It is a handy adjustment to know about. But I would caution you not to use it too much because the more you do, the more distorted your work or get on. Really? This is, I would say, Avery sort of last resort tweak. So I'm actually just gonna cancel out of that. What I tend to do more so than the liquefy tool is just used my eraser to tidy up edges and fix things that way. Now, the schools were very careful brushstrokes because you don't want to lose too much. But it is a good way to make things very niece around the around the edges, in case some of your brushwork has, you know, sort of spilled out over. - All right. - Okay . Those are my very final tiny adjustments that I've made in the next video. I'm going to show you my final render, Andi. Then we'll repost to completely finished with our artwork. So I'll see you in the next video. 18. Final Render: in this video, I'm going to start adding some a layer of texture over my whole piece on in Your Resource is folder. I've left you a couple of tools that you could work with some brushes and some textures. First of all, let's take a look at this image of the texture that I'm gonna work with. I wanted to be sort of above her above the top half of her like this, say over her top and make made that look a bit distressed. So what you need to do is create a clipping mask, and if you don't know how to do that, it's very easy. Essentially the texture or whatever is on the above layer will clip to the silly wears or the exact shape off the artwork that's on the bottom there. So come over to your layers over here, and with your cursor, you can hover over the line in between these two layers. Hold on, hold on your keyboard, and this brings up this little symbol when you click, then that will clip the artwork on the top layer to the bottom one. Now, obviously, that doesn't look very good, but we're not done yet. Once you've done that, this is where you get a play around with layer modes and see if you can come up with different looks or different styles. Come up to this drop down menu here, aunt. Choose from any one of these blending modes. Overlay is usually a good one to go with, but you can experiment and see which one you prefer on your artwork on. Once you've chosen a blending mode, you can also adjust the capacity. So that is another way to blend two different layers. Okay, so now you can see it looks a little bit better now. I don't particularly like it over the top. Let's see what it looks like if I drag it down over the pants, I think that looks a lot better. Or the booths, Um when it's a darker color like this, I think I might change my blending mode to multiply. Now I'm going to duplicate this layer command or control J, and I'll drag that up to the top. Remember, it's on multiply now. Command control T to rotate it and just double click. To commit to that transformation, Onda ply the clipping mask and Now I'm just going to race at the parts of the texture that I don't you know, that are on the skin, nor that are not where I want them to be that I need. And that's how you would add a layer of texture to your paints. And as you can see, it does make a big difference. It suddenly gives it a different sort of feeling or different quality, but you can do it without having layers of textures. You can actually build up quite interesting, gritty, realistic looking textures with some very simple brush strokes. Personally, that's the way I like to work. I prefer to stick with my brush tools and work with them because I feel like it does give a but more of a cohesive, painterly look to the whole piece. Um, so I'll show you how to do that Now. First, make a selection using your lasso tool off the exact parts that you want to add texture to . This is the part where it might be a fish tedious, but you get you get used to working with the less social and then creation you layer. So now this new layer has that selection and go up to your brushes and choose any kind of really nice texture brush. I've actually left you the exact brushes that I work with. So if you want to, you can just import them into Photoshopped on. Choose one of those. What you do is you choose a new color. You want it to be slightly different, but still within the same range as your base color. So something that's either a little bit darker or a little bit Fleischer. And they're just lightly very, very lightly brush on some off this sort of brush texture onto the top. Once you've done that, you can also use blending modes and capacity to change or effect it. Another tip is that if you do have paid, that's over the edges of your base layer. Just command. Click onto the thumbnail off your character. Layer your base layer that selects everything within that layer on, then come up to select and Jews in verse. And now you can just hit delete on your keyboard, and that removes any of that overspill. I'm actually going to experiment with quite a range of brushes, and I've left all of these were used to feel free to try their marriage. Um, have a go at applying them. And remember, though, to keep the A pass ity off the brush quite lowered at burst when you're adding them on top because some of them are, they can come up quite heavy and you don't want tohave. Very heavy texture. Brushstrokes might overpower your piece. They're actually just aiming for that subtle look. Actually, any combination of these brushes works quite well together. There's no formula. It's just all about trying them out and seeing what looks good. 19. Adding a Background or Environment: we're practically finished. This video is going to show you how to add something a little bit extra to your work. Were done with the character released aren't done with my character. But in order to make the whole piece really standards on really be a piece of concept art, I'm gonna add a background. The focus off this piece really is definitely the character of Jenna. But just to finish it off to that professional standard, adding an environment or a background can be really, really good on. You don't have to if you don't want to, you can simply add a layer texture behind her or behind your character. But if you want to bring it to that extra level, then I want to show you how easy it is to add an environment or a landscape. The first thing that I'll do is just carve out some blocks of color, so I'm using the less So to like this on literally just dumping color into the selections with the bucket tool. I'm also keeping each one on a separate layer for now on, then finally, in the very far horizon, maybe like a vague impression of a city escape or something like that? Very loose. Then I'm gonna choose a relevant color for the sky and put that on a layer at the bottom underneath everything else. I've gone for a kind of a very strange looking sky, because obviously I want to keep that SciFi or the worldly field this. Okay, So once I'm happy with Dash, I'm gonna merge all those layers together except with the sky layer. I want toe blend these colors together, but I want to keep the sky separate. So using my texture brush, I'm going to just break up those contours. Break up those edges between the colors sampling as I go, I'm using that technique. I told you that blending technique off sampling colors by holding down olt violin in brush mode on That's just creating a subtle change from one color to the next. I don't want to have a full radiant, but just a kind of a melting from one to the other. Now I'm gonna work on the sky, so I do want to Grady in on my sky. Um, what you can do for that is very simple. You could use the Grady in tool but I like to just choose a very big, soft edge brush with a very low capacity, choose a nice sunset, sunrise color and then on the sky layer itself. But underneath the mountains, I make simply just one or two brush trucks, that's all. And that's all that's needed to give that kind of effect or that glow to the whole. So the sky area kind of gives it a bit of atmosphere. Okay, now let me fix up this distance. City. I want to take it out altogether. For now. That's actually those marks aren't working. Um, I think I'll stick with a soft edge brush with the same color as the ground layer. I'm actually just completely making this up now is a go. It just It doesn't have to be detailed. It just feels right to have the same color as the ground and have that borrow ways in a distant city. Look helps it to blend into the background. Plus, it's SciFi, so it can be anything, really. And then, lastly, maybe it's catching some of that light from the sun rise or consomme. Pols that color and just add a couple of highlights on top. Okay, So the very last thing I think I'll do is just change up this color. I'm going to select this area, it command or control you, and that brings up your saturation sliders on. I can change the Hubei drying this here to change the color. And I don't have to go back in and repaint everything. And there we go. That's the final piece. Really, very, very quickly. Put together that background, but it really add something to to the whole piece. I think, um, I would be more than happy to leave it here. I think that is final and finished. But there's a final final last layer of polish that you can add. So meet me in the next video and we'll do that and wrap it up completely. 20. Final Effects: so I would say that this piece is pretty much done on I really, truly hope that you have learned something through following along with me on having this whole entire process. See how I approach it and how I work through it. I just want to stress that again. My aim is to give you a set of practices instead of processes that you can use and apply to your own work. So it's not really about copying my style necessarily. But just working with your brushes, working with layers and with textures, see what kind of artwork you can come up with. I would love to see any work that you've done so far in this course. If you feel like it, please and send them to me in a message or post them in the discussion section. If you want critiques or feedback from me, I'll be really, really happy to, you know, to help out or give you any advice as a way of wrapping up this course. I thought I just share one last process with you. It's a final layer of polish on it's aimed at adding that little bit of extra atmosphere. It makes the whole image more cohesive, and it also makes it a little bit more moody. Because, remember, concept art really is all about mood and atmosphere and telling us the story through an image. So before I get into that, just note, first of all, that my layers here are actually all grouped and organized quite neatly on. That's super important, and it's a detail that you shouldn't overlook. Um, so I like to name all of my folder by main folders in all caps on my merged layers where I can. So what I want to do now is add some brush marks just to make it look more cloudy on possibly winds whipped. And I want to knock back the character into the background a little bit, so I'll make a new layer on drag it over the back one folder and then from my brushes, I'm gonna choose this one. That's kind of like a cloud brush. I'm sampling colors from within my own scene, then still in that same brush to add a layer on top of everything and brushed down here at the bottom to give the impression of dust swirling around your feet. It's all a very light touch. Nothing too heavy. Then I'm gonna grab this brush on. What this one does is just add a layer off sort of particles. It looks like dust or something like Dash. And for this one, I'm gonna choose a brighter color to make it stand out of it. So this can go really wrong if you go in to heavy handed. Okay? So just bear that in mind, Just work very, very sparingly with these kinds of effects, less is more okay. And then lastly, if you wanted to add a vignette to your artwork Um, what you can do is again crazy, Brian, your layer on the very top of everything on Just don't, uh, flat, dark sort of color on top like this across the whole campus and set that layer to multiply . Now come and drag the capacity all the way down into by, say, 20% 25 on a switch to the eraser tool, making sure that it's a really big brush, soft edged brush on erase out sort of the center off the painting, especially where the character is, and you can actually see over here in the layer. Some know exactly how much you're erasing If you want to the check and that is it I'm gonna put my style is down on not do any more. We have got finally, a fully finished and rendered painting off my character in the scene, um, in an atmosphere of looking environment thier way with the end of the course. And I am really, really hope that you enjoyed it. I really hope that, you know, it's something useful on, but you got some value out of it. If you have any feedback for me, please get in touch peace and me a message on I'll respond. That's here for even after you finish the course. Just you can always contact me. I have two more videos, Burns videos in this course, and that's the other character of targets, which I drew up earlier. I left my process videos kind of like a speed painting off how I colored him from very very start right away through its very end. So feel free to watch those if you're interested. Other than that, it's just like for me to say thank you so much for being part of this course. I really look forward to seeing you in the next one