Digital Art for Beginners - Unleash Your Creativity | Robert Marzullo | Skillshare

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Digital Art for Beginners - Unleash Your Creativity

teacher avatar Robert Marzullo, Online instructor of Figure Drawing and Comic Art

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

25 Lessons (3h 55m)
    • 1. Digital Art for Beginners Intro Video

    • 2. L1 Using Sketchbook Pro

    • 3. L2 Using Clip Studio Paint

    • 4. L3 Using the Procreate App

    • 5. L4 Using Adobe Photoshop

    • 6. L5 Using Krita

    • 7. L6 Understanding the Devices Wacom Intuos 4

    • 8. L7 Understanding the Devices Wacom Intuos 4 Driver Settings

    • 9. L8 Understanding the Devices Wacom Intuos 4 Driver Pro and Cons

    • 10. L9 Understanding the Devices Wacom Intuos 4 Driver Pro and Cons Part 2

    • 11. L10 Understanding the Devices Wacom Cintiq 22

    • 12. L11 Understanding the Devices iPad Pro Apple Pencil

    • 13. L11 Drawing Exercise on the Intuos 4 Tablet

    • 14. L12 Drawing a Creature Design Part 1

    • 15. L13 Drawing a Creature Design Part 2

    • 16. L14 Blending with a Soft Brush

    • 17. L15 Blending with a Hard Edge Brush

    • 18. L16 Painting Texture with the Droplet Brush

    • 19. L17 Painting Imperfections

    • 20. L18 Painting with Blending Modes

    • 21. L19 Sketching Our Rock Formation

    • 22. L20 Selection and Base Painting

    • 23. L21 Painting in Light and Shadow

    • 24. L22 Painting in Texture

    • 25. L23 Blending and Refining the Edges

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About This Class

Hello Students!

This class is here to help you jump into the AMAZING world of Digital Art.  I will guide you through the use of some the most popular art programs and drawing devices.  This will help you to have a better understanding of what to expect when making the jump into digital art.

After you have a basic understanding of how these things work you will complete some art projects to strengthen your abilities.  Throughout this class I am using Clip Studio Paint, the Procreate app, Sketchbook Pro, and Adobe Photoshop.  You can use whichever art program you want.  The main purpose of this is to show you that they all have similar functions and can all get the job done.  You will also learn which tools and effects are specific to individual programs but they will not be used to complete the project files so that you can follow along.

I will also be demonstrating these drawing devices - The Wacom Intuos 4 Medium Tablet, The Wacom Cintiq 22HD, and the iPad Pro 12.9 128gig with the Apple Pencil.  You will learn the strengths and weaknesses of each as well as how I use them to complete my artwork on a daily basis.

I am here to answer any of your questions about this content and I would love to see what you come up with.  I will be adding more content on this topic so please let me know If there is any way that I can improve these lessons for you!

Thank you for viewing my classes and good luck with your ART!

Robert A. Marzullo

Ram Studios Comics

Meet Your Teacher

Teacher Profile Image

Robert Marzullo

Online instructor of Figure Drawing and Comic Art


I enjoy creating and sharing Video Content of my drawing process. I teach comic book illustration techniques, figure drawing, and digital painting. I use programs such as Adobe Photoshop CC, Clip Studio Paint, Procreate, and Sketchbook Pro 8.

I am the author/illustrator of the book, "Learn to Draw Action Heroes."

I have been teaching online for over 5 years now and love the ability to connect and teach artists all over the world. It is very exciting and rewarding!

See full profile

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1. Digital Art for Beginners Intro Video: Welcome to my course digital art for beginners. Unleash your creativity. My name's rock Marcelo, and I'll be your instructor for this course. This course is designed for anyone that's looking to get into digital are or become more proficient at it. I've been a digital artist for 20 years now, and there's a lot of things I've learned along the way that I want to share with you in this course. In this course, you'll learn about a few of the more popular drawing devices in our programs will delve into each and we'll talk about strengths and weaknesses. Also, talk about things that are cross platform things that have been adopted by other software is that you can count on when going to pick up that next software and just a general understanding of digital art as a whole and how to work around any problems you might face . As you're trying to basically acclimated yourself to the new art process in digital art, you're gonna feel a bit of disconnect, and that's entirely natural. You'll get over that the repetition, and I want to show you how to use the tools in front of you to alleviate some of that. Give yourself time to feel more comfortable. It's not easy to jump from traditional art dizzle art, but I can assure you it's well worth the effort. Personally, I like to use both together, and we'll also talk about that as well. But there's a lot of markets where they've just made the transition to digital art. So if you want to work in those industries, you have to understand the ropes, and that's what I'm here to show you. Digital art can be a fun and exciting way to create, and it can open the doors and opportunities in so many ways. Keep in mind, I'm here to help out with any questions. You have all taken this contact. Don't hesitate to reach out, and I'd love to see your work. I will also update this course based upon your valuable feedback, so I hope you'll join me and let's get started at making some amazing digital art today. 2. L1 Using Sketchbook Pro: welcome back. So the very first thing I'd like to talk about is choosing the right software. And so there's lots of different Softwares and programs online. App for the iPad, things like that. We're gonna go through a few of my favorites, but I want to start here. So basically, with sketchbook pro a time of these recordings, this is actually free. And even when they did charge, it was still very affordable. So one of the things that you know and obviously is very affordable, Right? So? So one of the things I want to mention is that you know, different needs for different artists are going to play into the various software. So I find that drawing is pretty much like in the top 90%. I can get my best artwork, 90 percentile, whatever out of sketchbook pro for drawing. Okay, so now this is also going to tie in with the type of tablet use, and also probably just the way you draw that. We use the mechanics of your body, how you feel when you draw. We all create lines in different ways. So there's a few things that I can't really calculate for you. But what I can tell you is, since using these different programs, this one has been the easiest to get the best drawing out of Okay, probably in a close second with the app procreate. I just feel like drawing and there's really good we'll talk about that one as well. So when you go to choose your particular software, you might want to try. You know, some free, open source, maybe something like, I've heard people using credit. Uh uh, it was a few different. Everyone's out there, but again, this one's free at this time, and it's it's fantastic. So Ah, big part of what's going to give you good line cleared If we're talking about line, clarity is really resolution, the way the brush works as well. So the main bearable that you're gonna have with different Softwares are the brushes. So if you come over here, you see a couple of my popular brushes and erasers are all set to go in clicking This I time you could see a bunch of the brush library. You can click into each setting, and you see there's just a ton of settings for almost any brush. Some are pretty basic, but some give you lots of variables. And also, I could say, with brushes, you really have to get in here and make copies and adjusting these variables for yourself. Watch the thumbnail. Create a few marks, really, you know, experiment, but always make copies of so that you can understand what you're doing, where you're taking it and a lot of the stuff in this particular software. If you basically, you know, click on something, see if we click off that. Uh, well, I guess it's there it anyways. But say little like down there You can click and hold there, and you could do things like new Brush copy brushed elite brush so on and so forth. And and that's what the way a lot of this work. So a lot of things if you click and hold, you're gonna get your little menus. Um, it's not too hard to figure out. That's one of things I like about sketchbook pros. A lot of it's pretty easy. Also, it has things like perspective tools, So if you need more assistance drawing perspective, it's there to help you do that. You can define 12 and three point perspective. Forgive me, that's pretty pretty occurred. So it's killed a brush down with the bracket keys and then draw out some perspective. So it's really hard to beat that with digital Softwares. That perspective ist so I don't call it easy, cause perspective is never easy. But it has these tools to help you just like cemetery. You know, you could put a cemetery tool on, and then you can draw on one side that automatically draws on the other. So again really need little effects for you to help you get things done. Like maybe a we're looking face like that. So So, yes, So you can't really beat that. But again, remember that a lot of these if you click on something that something's gonna pop out or you, you know you're gonna get like, a an option for editing it. Where was that again? Times I have to do this school times the little dotted line you're gonna hold and get another menu. Eso with sketchbook pro. It's it's really a very streamlined interface. Yes, there's a lot of controls, but it's not as complex is some OK, Some get really bogged down with controls, so it has a pretty streamline interface. I also like the fact that you can move these. If you've got dual screens, you can move these right off the screen. So you have just your drawing surface. If you don't find yourself using something as much like this color park color wheel here, I just find that I don't really need it as much. I can basically get rid of that. Um, yeah, because another way to do that is just simply come up here and click it. So you know, pop, that one opened. I shut it when I'm done or turning off when I'm done. So that again, I keep a very streamline open canvas, which I like for drawing. I like to draw big, so so back to the line, making okay, So a big part of this probably one of the number one problems I see new digital artists run into is there line making? I can't get clean lines and every time make my lines. If I zoom up, they look very pixelated, very blurry, just like we're seeing here. Well, the thing that's directly related to in digital art is resolution, So if you go to image of its size. And so we got a very large canvas here, but the resolutions only had 100. So I look at these variables and then I look at this number up here, the megabytes, and I know right off the bat that 7.6 megabytes for that large of a canvas just isn't really enough, you know, numerically to give you a good line work. I work in something more like this. So let me just show you some of the variables that I used nine by 16 which is basically widescreen format. And then I bumped that up to at least 300 DP. I Now look what it did to the file. You know, I made that smaller in inches. That added resolution jumped it from Was it 978 camera plus. But it's now it's a lot more at its 49 Mex. Now I know based upon the way I create canvas size, that this is gonna give me plenty of resolution. And if I wanted to really go high rise and my system could handle it, I can't bump that up to 600. But now I'm really asking a lot of this software, so I'm not going to do that. But I just want you to play around these numbers. You get an idea. Another popular size that I use is 17 by 11. So this is comic book panel. Size 600 would be absorb int I would at least 2 300 That's a 64 make file. But I know I'm gonna be able to put plenty of detail into this. So, for instance, if I started drawing something right, they got a skill up my brush Now, using the bracket key the right bracket key to go larger with the brush. So say I start drawing, you know, character, some kind of comic scene thing that I want and that's are drawn this right. And at first, everything that's big is gonna be easy to discern. Okay, because it's it's big. So, you know, the bigger the forms on this page, the easier it is gonna be too drawn. Make them clear, and all this and yet you won't run into any problems. Here's where the problems occurred, generally with digital, when you start to work on your background elements. So if you don't have ample resolution going. Um, suppose looks a little strange, but I think it could make it work. We start very scribbling and very loose, but Okay, so I get this thing in the foreground jumping or doing something that's probably down here and this capes flying back like this or something and powers coming off his hand. I don't know, whatever. So this character is doing this right, and it's all fine and dandy as I work on this character. If you see if I zoom in, even though he's a very ugly lines, look up clean there. I mean, there's a lot of resolution here to work with plenty, but that's Sensor is that's a good thing. But if I didn't have enough resolution, this is where I would see it. So say I have these characters in the background and they're like, You know, I don't know their their smaller characters, and they're like those screaming, No, don't go or some whatever they're doing right. So there's their hands. You know your body. It's a foreshortened, not for sure, but it's perspectively there, away from camera, so their legs get smaller. Yeah, whatever the like this. And if I don't have enough resolution areas like their face, even though you're really gonna minimize the way that you detail something like this, but it's gonna get blurry back there, you know, you still small. That isn't comparison. Now that's pretty extreme. But there are times you need that. That's where that resolution that you know, 300 dp i lp I There's different ways to refer to it as, um, at 11 by 17. There's plenty of information there, but again, this megabyte file will generally tell you this is also gonna you're gonna get a good understanding of what your system can handle. So if you start working with 100 megabyte files but you're getting lag, you're getting brushed away. It's another thing I like about this software. Now, keep in mind. This is also based upon the computer specs. We'll talk about that as well. Just so you have a nice range of what this stuff, how it affects one another. But you see, hopefully you see you can't see my hand movement, I guess, but I'm getting no delayer lag, no noticeable. The layer lag again that is going to relate to the computer and the megabytes sides like if I take this and I say, Well, I just I want 600 dp I because I won't put a lot of little background details and I think my system can handle it. I don't know that it cannot say and it really tested like this, but this is a kind of test and actually still reading really well. But now what? You could probably see. Let me put a line right next to the previous line and you see the previous line because I've I basically extrapolated the image. Okay, so I hopefully, hopefully that's the right word. But I made the the image larger after the fact by creating lines and then by adding resolution so it has to interpret the neighboring colors. That's how pixel data works. So that's why you get a blur. Even though it's black and white, it's interpreting that transition from white to black and likewise with color. So if you doing digital paintings, you're gonna get blurry, muddy colors in the sense on your edges. But look out clean. That next line is because now this is created the new resolution, which is obviously you know, there's a lot of resolution too much, I would say. But again, you kind of need to know the limits. You gotta test them a little bit. So the understand things and you can always pull back. It is good to know what your system can really handle in the way of megabytes and things like that. So we get my ugly sketch offer here and to now, you know, hopefully understand that with this particular software that it's got, you know, it's free, which is great. It's a fantastic drawing. Software has perspective, tools, some of the other things that we're gonna talk about as we go through some things other Softwares is the consistency is okay, so we have layers. Seattle new layers. Here you change the blending modes here. Now this particular one doesn't have as many blending most, but it has all the primary and functional blending modes. So we'll get into that a bit a bit as well, because but the consistency is that you're going to see our layers brushes, blending modes, canvases. You know, back when I first started, rotation wasn't in a lot of these. Now they all support it which is huge. You know, if you're an artist like me, that does better, creating certain lines like I have a hard time drawing lines to the side. Okay, look up bad those hookers are. But then if I go up and down generally can get a bit more effective lines a bit straighter , but more control I don't have That shows you exactly. But I know that about myself that I feel more comfortable. I actually feel the most comfortable pulling this particular line so down and towards myself at a slight angle. So rotation is important now, Like I said, they all supported. I remember when I first got started. Photo shop just didn't support it. Now it does so So they start to become a little bit more cross platform, which is nice. Other things. They're gonna be like color palettes. They all support that. Obviously, some have a better range of colors, but, you know, for what we're doing, we're talking about this is still adequate selection tools. So this another big one and some have some great selection tools and summer bit clunky. I feel like this selection tool is a bit clunky because it starts off with a point, and you have to blend back into that point. So it's kind of difficult to do that. One of the best selection tools that have ever used has been with the at procreate, and I'll show you some of that. So and some have better distortion. So another thing that you're going to see is after you create a Siris of lines or an image or whatever, having the ability to take the layer and distort it is really big. This is actually one of the needles distortion tools. Now it's not the best, because if I had to put the absolute best distortion tool out there, it would be liquefied. Now, Photoshopped and Procreate both support liquefy. Um, you know, clips do has mess transformation, but this one is highly powerful. Noticed that you can control the nodes on the corners and the sides really great for things like Windows doors distorting almost anything. It's very functional again. It's not the greatest distortion tool, but it's a pretty good one. Um, and you know, there's a plethora of stuff. We're just gonna have to keep talking about it. You've got the French curves, which are nice. You know, you could cycle through these and help help yourself with generating the curves that you like. It also supports the the pen pressure as you do that, which is really effective. Um, and on and on. So this isn't gonna be like, you know, explaining every bit of sketchbook pro, but I want to show you some of the strength of a few of these and again give you an idea for what? Digital software to choose. Then we're gonna talk about the tablets themselves because obviously that ties into how use these Softwares and how effective they can be for it. So with that, let's move on to our next lesson. 3. L2 Using Clip Studio Paint: All right, So now I want to show you clips. Studio paint. Now, keep in mind this is gonna be a bit of a jump. There's a lot of options in here. Notice. So is we go to file new and remember, that's, like, always gonna be right there. Command in on a map that we have the same kind of set up for. This is the set up I like to use, right. So 11 by 17 at 300 or again, You know, I've got these few choice sizes that I work with. I can do nine by 16 at 300. Okay. And I had Okay there. Now I've got multiple screens. I need to bring this over. So now the thing is that this software just has more options overall. Okay, really a lot more options. What happens is this software is really ideal for full book creation. So I create my comic in here. You can set a, you know, a bunch of different pages. Whatever your book sizes, you can create a unified document for that with the pro version, or in this case, the X version. And so, if you need that cool go for that. But if you don't, they make lighter versions of this that are a bit cheaper. I'm not gonna talk prices cause it's always subject to change. But what I can tell you is affordability wise or value wise. This is a great deal. I never feel like the money I spent with this software has been a waste. I know some people don't like the fact that they're at version for the iPad Pro is subscription base, but it is highly effective. Is a full version of this software in at form, which they really one of the first ones to do that? I'm sure a lot of other Softwares will follow suit now or hopefully they dio. But it's amazing so, but again, some people don't like that subscription based. We'll talk about that with Photoshopped as well. But what's great about this software? In a lot of ways, it's really like Photoshopped. It's also like sketchbook pro Like I said, they've kind of culminated together a bit because what works for one will ultimately get adopted by the others. It seems to be that way anyways, so the drawing is fantastic again. This is going to relate to your tablet. And you know, you adjusting your settings is what we're also gonna talk about when we get into the tablets will talk about tablet drivers and things like that. These were all going very based upon what you use. But the main thing is pressure, sensitivity and being able to get that line worth nice and light and then nice and heavy by comparison, that gives you a lot of range for what you can create. Um, now one of the greatest things about this particular software one of the things that sticks out the most is you can create full pages with storytelling with divides. There's all sorts of neat features for creating cut frames, just tons and tons of tools to make comic creation. Ah, lot easier. Okay. The other thing is the brushes. The custom brushes in this particular software are the best I've seen thus far. Now a lot of software's allow you to make custom brushes things like Photoshopped procreate and they're great. But some of the best brushes I've ever been able to create have come out of here because you have the ability to not just control the brush itself, but also to designate different colors to the brush. Let me show you what I mean here. So if I take this bubbles brush OK, that I made just thought it would be fun to make up brush. It creates bubbles on I fill the background. Let's do a darker, really dark blue that that dogs were in there. Okay, so we fill that role quick than on a separate layer. We grab that brush and remember, we can define the two colors now, depending on how you designed the brush. Sometimes a lighter color will be in the foreground, the darker color in the background. But it's actually affecting the, um, the coloring off the bubble. Okay, so so just like that's really it's not bright enough. I want this to be the blue like this. I want this to be closer to a white, and you just keep adjusting that. But it's incrementally changing that in the brush itself. We'll see that. Now let me show you another one that might be more parent. Um, made all kinds of brushes brick a brick road that should be gold, metal, dense stippling, dragon skin. One of these air Pretty cool. Let me see. I usually have to make a few that are a bit strange to get to a really good one. Monster skin. I can't remember now. That's kind of a texture, but again, these brushes are highly effective. Once you get the hang of it and you see you know what can really be done with him, you know that. So this is just a rock texture. But what's needed is you can keep going over it. You can make the brush larger and again it's going to introduce those colors into the brush . I mean, look how detailed that is. So lots of areas where you could really utilize a brush like this. And if you want that lighter gray to be, ah, you know something wild like a red or something. You read it in an orange. It's a round brush itself for your me. It's easy to do that, OK, and you can make small versions. They rotate with the brush itself. Uh, yes, So to me, the brushes inside of this software are the best. It's almost not comparable because they do things that other brushes just can't do. One really good example, that is that the chain mail chain mail is pretty good too. So you see, that goes with the rotation of it. Uh, it goes light to dark, which really I'd probably take that setting off. You can control all the settings you can. You can label which settings you want over here just by clicking little I I can. And it puts him in a quick, select over here thons of options in here. I can't really get into all that today. But also, I could tell you is very, very effective. Obviously, for chain mail, you're gonna want Ah, later. Greater black something that And you change that that quickly. One of them that I could not seem to make any other software. I was president here. Spider Web chain link. OK, so this chain link brush right here. Now I did a drawn version of chain link. So that's the other neat thing. You could have every bit of those inclines and texture become part of that brush. So this is more of a painterly style. This is more of ah drawn style. But all of that is an option. I'll show you one more and then we'll get out of this kind of, you know, there's so much fun to look at and play with. The kind of it was that spider Web brush. Yes, so I wanted one that looked like Spidey's webs, right? So I made a brush that did that. And again, that's just kind of the power of this, that you don't have to really take anything off the table. The fact that ribbons around like that once you figure out how to connect him at it as you get a little bit of artifacts. But for the time savings this creates, you can easily go back in there and edit this and draw over top and fix any inconsistencies . So again, custom brushes in this software are, personally, to me the best. Now, a drawbacks that I might see about getting a software like this. You're gonna have a higher learning curve. OK, there's a lot going on here. There's a lot of options when you start delving into all this. Now the good thing is, there's tons of great resource is and you know, YouTube videos and course content so that you can bridge any gaps, but just be ready. Since there are more options and more ability, it's gonna take you longer to master like anything else. Now the other thing is, it's really need about this particular software. Some support this some don't is blending modes, not just with the layers. Look how many blending modes are compared to what Sketchbook Pro had, so there's more detailed blending modes. But also there's blending road moulds to the actual brushes. So what that means is, if you want to apply a highlight effect, let's grab this blue here. Let's grab a a soft airbrush highlight and set to glow dodge aglow or whatever we pick like a really bright, uh, yellow green or something, right? What's what happens here. So it's working off that blue paint. At first. It's kind of basic, but watch when we go through this a couple times, it almost looks like power, right? Like energy. And then, you know you can keep going with that and really make something looks kind of magical pretty quickly. So what happens is the blending mode is being applied with the brush. So if you were to add a layover here and you just paint something I don't know what the different coil is to try just a brighter green, but we set that back to normal mode, okay? And so it's a soft airbrush to normal mode, and we just put these little dots or something, Okay? I don't even know if this look just kind of experimenting here. So we do that. We throw these in there like, Well, you know, I like that effect, but I want to punch it up even more. So you come over here to the blending mode, and you set that to, you know, at Chlo, Chlo Dodge, and you player out that concept now, in this case, you didn't really do a whole lot. You know, maybe if we had some more, like, little wispy lines or something middle, it'll make it look cooler. But once you realize that you have so many ways to edit your work and that by doing this by taking the blending modes from the brushes from from the layers, you can generate so many neat effects really quickly. Lots of room for edit again. It's gonna take a little bit longer to master what the possibilities are. But once you start toe experiment. Have fun with it. You're gonna really be able to take it a lot further. So I highly recommend this software. This is one of my favorites. It's one of the best out there for digital inking. So if you're looking for inking for comics, this is probably almost where you want to start. The all Let me just say that they all do what the other ones will do. Some just do certain things a little bit better, and some have more options that are more specific to certain things that might help you bridge the gap sooner. So let's go in and conclude here, head over to the next lesson and talk about another software. 4. L3 Using the Procreate App: Okay, so now what I'm showing you is actually procreate. So this is on the iPad. Pro and procreate is probably one of the best values Best bang for the buck overall, because you pay for it once and again. I'm not gonna talk prices, but at the current recording of these lessons, you pay one time you only app, and it is very, very powerful. You get updates for free again, any that could change. But at this point, very, very good value. So one thing I like about this is it's really highly effective. Probably the easiest startup. So, for instance, the fact that you can generate good line work in good paintwork. You've seen some gorgeous paintings on this this ah, particular app, and it's all kind of good right out of the gate, mainly because you're gonna be using you know, the iPad pro the apple pencil. Yes, you can still adjust settings with brushes and things so you can go into the brush settings and you can look at things like obviously, there's a plethora of adjustments. You can also make some quick marks over here to see what changes you make again. If you're gonna get in here, Mestel that make sure to save settings out. But you're gonna look for things like the apple pencil setting. How? React to the tilt. Uh, you know the pressure sensitivity based upon size, things like that. You also have a pressure curve. Uh, let's see boots a preference right here. So this is probably the main one, or at least for me. We're really adjust this to get it to where, you know, I get the type of line that I'm looking for again. For me, it's pressing very, very lightly, almost getting no line and the getting a nice, heavy line by comparison, some certain things that this particular software does that are unique. So, you know, I want to give you these options as far as you know, things that might really suit needs. One of the things is that it's very portable, right? Using iPad pro versus antique or a tablet that has to be connected. Teoh. A computer. This is a computer. So you're very portable. That's a big one. Also, this records everything you dio as a video. So as you're creating all this fun artwork and you know you come up with your next best piece of whatever that is. It's recording everything that you do. So if you again, I'll do a bad sketch here. You got a character and they're coming out towards screen and whatever. There's something like that going on. Forgive me, it's recording this. So every mark that you make on the screen again, I think at the point in time of this recording that is independent or I've only found it in this software to be so effective and so, um, easy to use. So, you know, you draw your next beautiful work of our hope, you enjoy it, and then you go over to here and you look at video time lapse, replay and everything. I just did their benevolent on this canvas and a video for my came and scrub back and forth by pulling against the screen with one finger and drag him back and forth. And I have done some really, you know, length Lee uh, productions. And it's all been recorded Now. The other thing about this is that it also gives you canvas information as you're working. They wouldn't think that would be a really big deal, but what happens is is it allows you to keep track of the time you've been on a certain piece, gives you all the variables like how many layers you can use based upon the size of this. So as you create different canvas sizes, not only will tell you as you create the canvas, but you can keep track of it here so that you can be aware if you're coming up to your layer limit, that kind of thing. And yes, so the overall time of not only just the video, but the time that you put on this particular piece. Track time. Three minutes again. It doesn't seem like a big deal. But as you work professionally, that actually could be a really great little time saver Or, you know, makes you accountable for your time, which we seem to get lost in as artists right now, things that this does better than most of them because it's one of my favorites to be, to be truthful. But again, don't feel like you have to go with what I consider my favorite. You're gonna need to test the water and try a few of these different Softwares because what works for me may not work as well for you. That's just the way it goes, right? So the thing that I consider being, you know, really like the probably the best thing is, you know, the drawing is very natural because of the apple pencil. Okay, it's just very, very smooth and streamline its very accurate No parallax no, no feeling like I'm, you know, drawing on anything other than paper. I mean, you still have a glass screen, so it's not perfect by any means, but it's it's pretty darn good. Okay, I could generally get to a pretty good sketch without having to try to awfully hard and try to, you know, redrawn refigure things we might call Miss a good sketch, but the accuracy is is really good. Okay, so that's that's first and foremost, because that's mainly what I'm here to do. Others things that make this even more effective, like one things I like to do is apply my colors in this software. Now on. One of the reasons being is because this selection tool right here. So if I tap that little thing that looks like an s, there probably isn't It's against for selection and I go to draw a selection. I can I can draw a line. OK, I can pick up the apple pencil from the screen. I could start again anywhere I want. But close to that point makes sense. I can draw the next line. You stop again. I can adjust my, uh, hand position. I can undo and redo. Okay, which is unheard of for selections. That's a two finger tapping, a three finger tap done doing radio. And I can draw this selection with about the same confidence that I can for drawing with a pencil. Now again. For me, that's unheard off. Like I can't do this in any other software. Nearly as effective. I get a lot of little hiccups in the selection and I could undo and redo. I can also go from curves to a point by point click. So angular, right back to curves. I can't stress enough how effective that is. Now it probably doesn't seem that way the way that I'm using it there. But it is the best and most accurate selection tool I have ever used hands down just just really, really well done. It wouldn't again, it wouldn't seem like it's that big of a deal. But when you go to do certain things like coloring comics or editing, a painting is so insanely handy so that with the recording aspect of it, the portability this becomes one of my favorites to actually create with them. And again, it's highly affordable because you buy at one time at the moment of this recording and you own it in the purchase price is still very affordable. It also has some very neat custom brushes. It comes with a ton of amazing brushes so that you can just practice and you get a feel for it. I wouldn't say the brushes air as good, um, as, ah, clip studio like I mentioned, but they're pretty darn cool. There's lots of cool texture brushes. They work a little bit differently. All the custom brushes seemed to work at least a little bit differently from software to software, but or app in this case. But they're still very effective, you know. You can look up paintings and drawings now this is another tip on us a real quick. I think that it is helpful to look up other artists that you admire. And if they use a particular Siris of tools, whether it be a different tablet, different software to at least pay attention to that reason being is that they might be sharing tips along the way and already following that artist that it makes sense. You're going to get some very valuable techniques from them because you pay such close attention to him, right? So they're going to say, Oh, use mice antique And I did this and it worked really well. So it's easier for you to grasp that information because you already admire that artists and you see the art where they're creating with it. So there in lies the proof off. You know the proof of what they can do with it, which is, Ah, big confidence poster. So again, clip studios amazing. They all support the blending modes and the layers and groups as well. So one thing it's a little bit different. I'll just show you this real quick. As's faras groups and a lot of them, it's pretty easy to make groups and then put the layers inside of groups here you have to drag and actually selected a layer and let go. It will then create the group for you. You can tap it and rename it do all that stuff. But you are gonna want to pay attention to layers and groups because if you get very intense with the way that you're designing something, you can consolidate that into a group and then you can also title that on and off. You can also resize everything in that group together. So So you put down this and then you're over here and you got this on another layer like this. You know, you don't have to move each one of those. You could simply grab the group your move tool, and they move together. But you still have the ability to edit them individually. So again, layers and groups air cross platform as well. But the way that you kind of organize them and initiate them is going to be a little bit different in this at first is the other ones I'm going to show you. So again, you know, try these all out. What I want to do now is I'm gonna head over to another software and give you another example. Talk a little bit about that. So with that, let's move on to our next lesson. 5. L4 Using Adobe Photoshop: Okay, so now we're gonna talk about photo shop. Now. Photo shop has, you know, probably some of the most tools. Most versatility, definitely an image editing because it's essentially an image editor. But you can do some amazing paintings. Obviously, there's probably, you know, the majority of the greatest paintings you're going to see digital paintings and digital art. It's probably gonna really come from Photoshopped, mainly just because the name of the software carries so much weight. Such a big program, right? It's been around forever. Back when I did, Design is a sign designer of Vector artists. 20 years ago, I was using photo shop illustrator and things like that. Some other ones it wouldn't know as far as, like Flexi Sign and Gerber. But But the thing is, it's so well known it has a huge market share. So So the reason why I'm mentioning that is because that comes with a lot of other added benefits. For instance, if you're looking for resource is whether that be video courses, YouTube content, blawg posts that share tips and you know, free custom brushes, you're gonna find most of that right here with photo shop assets like background textures and you know you can. You can make assets all over the place for photo shop, everything from different, uh, pen and path tools and macros, all kinds of wild stuff that people share with this. But let's keep this base upon, you know, just generating some art. Okay, so again, there's a lot of resource there for you in the way of education because it's such a popular saw. For now, one of the biggest drawbacks, one of the things that people complain the most about our constant updates and then also the fact that it's basically a it's a subscription model. You can't purchase it and more outright, So you're gonna pay that monthly feet now. For some people, that's not gonna be a big deal. Other people that's gonna be a really big hindrance, especially if you're a startup artist and you're trying to make your name for yourself. You know, really, minding your budget can be, you know, an important thing to do so that you don't stress yourself out as you're trying to get better. Some not. Everybody's gonna want to start here now. It might allow you to work with people more efficiently and make better income in the sense that you have something that's more cross platform. So certain industries you go to work with, people like in store boards or, you know, certain design industries and things like that illustration industries. They're gonna kind of require something like this because it's easier for them to work back and forth with you and something their team is already knowledgeable about. So again, it's more of an industry standard. It's got all the same things as faras, layers and groups. It's actually very easy to generate layers and groups in this one. Very effective. You can click, hold, shift, drag those two into the group, condensed that down. It's very easy to understand. And then also the brushes are This is a bit of a mixed bag. So, for instance, what happens with photo shop is the brushes are very versatile. But they're also have noticed, you know, kind of hard to get right, like they've gotten a lot better. At first, you had to do a lot of settings to get your brushes just right. I'll actually jump in and show you some of settings. You're gonna want to look for get right. And I haven't done this in a while because I want to get something where you need it. Kind of leave it alone. Okay, so right here, you're gonna look at shape dynamics. You see, if I toggle that off one's appointed edge once not so. It's a big one right there. Transfer is big for painting. Case to see out fades the edge. But in a lot of times, you're gonna want put transfer on and take that off your painting brushes. But some people like to draws a pain or have a little bit of a mix. Scattering is also pretty important because what happens is you started texturizing. You space out the brush tip and it gives you some neat texture brushes. So those are the main ones. There's lots of other details there, but again, you're gonna want to make a backup. Your brush. You can duplicate it right here. Name it something else. Play around with the settings and then, you know, double click and rename it. Or if that's still the same. I guess you go back to here. Yeah. So once you get it the way you want, you're gonna rename it. Make another version again on. Then you can organize your brushes through the preset manager Ghannam on dual screens. Let me move that over for you. And so yeah, I like to categorize them. I have a bunch of different brush sets, and inside each one has a variety of brushes in there. So again, the brushes after you get this part figured out over here on your brush settings on, you should be able to get to that over here. Yep. It's right there at five. Then you're going to be a lot more at ease with what you can create here. Now, one of the biggest things that let me just do a quick doodle here, make sure I'm on a floating layer. Um, one of the biggest things that you know is really impactful with photo shop. And ah, a lot of things really mean. Photoshopped has a ton of tools, probably again, probably the most. But it doesn't have perspective tools, which I find a bit strange because clips, studio pain, procreate and sketchbook pro all have perspective tools. But photo shop, for some reason, just does not one adopt it yet. You know you'll see a lot of people make, uh, grid patterns like this and then distort them into place, which is actually really effective. You know, you get really good at doing that on its there's actually some strength so that method are process. But, you know, not everybody wants to do that. So it does seem a bit strange to me that they haven't put perspective tools in here yet. But what they do have what procreate has. And I think it's pretty much those I was gonna do Another bad doodle here of little superhero face. Start out is how I start out my superior faces. Okay, so something like that. So say I start drawing this out. I'm like, I don't know the nose and the mouth and need to be lower Little incremental changes like that. You know, you obviously have soft to racism, redraws and things of that nature. But what's really effective you can isolate an area or just work off the whole layer. It doesn't matter, I guess, But generally as it gets more detailed, you would isolate the era. So let's do that. Isolate the area, filter liquefy, and I cannot stress this enough how powerful this tool is for artists. Probably the most powerful poem for Poem tool. And I wish more than supported. Like is that procreate as an amazing version and probably photo shop is the best. I think photo shop might invent it. I don't know, But also I'm telling you, is that this? This could be really important. Like because once you start getting into your illustration, these tiny incremental changes can save a Thanh of time. They can really help you yield some of your best ideas as well because you condone artist Joe here. But But it works, believe me. And with digital painting, it's really a huge time saver because you can actually move this around on and keep all that little intricate paintwork in place as you do that so highly, highly effective in what's needed You you make all these adjustments that you want. You can hit Command Z right in this window. Okay, uh, Photoshopped didn't used to support command Z undoes. Now it does. Let's see what redo is. So command ship Z use that a lot, but let's go back. So everything that I just implemented there and then once I get it to a level that I want. Obviously, this isn't anything that I can really do a lot to hit. OK, there. And then I can hit command Z and command shift, see? And I could toggle back and forth and I could see if it was a improvement for the better or for the worst. So again, that is so impact fold. It doesn't seem like much here, but as you start to progress that your paintings, their drawings, it can be a lifesaver. I suggest you use it. Play around that you'll really see the value again. You're not going to see it so much here. Keep in mind to one thing that you gotta be aware of a photo shop If you just blindly hit delete without a selection, it deletes the layer. But if you command e r, commit a sorry and select it first and hit delete, it will delete the art off the layer, not the layer itself. Just one of the differences that photo shop has from other Softwares as it pertains to drawing. I think it's important one to know. So the other thing is, that photo shop has a lot Mawr image editing ability. They all have kind of cross pollinated with this. But you can go in here and you can do a lot more like, you know, your vibrant of saturation color balance. You know, so most of them have these ones right here. But then Photoshopped just has a bunch more effects and filters. Andi, I think they're even a bit more detailed inside of each one. Like things like the curves of the, um it was not a paintwork on here. Let me through a little bit paintwork on here. I also feel like it does a little bit better for the actual painting. Ah, than most I would say in order. Off effects for me are importance for, you know, going from, um, painting. You know, it would be probably my absolute favorite to pain in his clip studio. Okay, clip studio in clips, studio mirrors. A lot of Photoshopped commands eso that's my absolute favorite to paying it. I know mileage is gonna vary with different people on what they think is the best. Absolute favorite for drawing would still have to be, um I would still have to be procreate, okay. And probably close. Second would be sketchbook pro. But painting it is really easy, even select Ault, and it's like the neighboring color. You can blend like this and get a nice painterly look. I don't know to meet. Painting is pretty darn conducive and ineffective inside the software. So it be clips, studio pain. Next would be Photoshopped. Then it be procreate as faras painting goes faras drawing it be procreate than sketchbook pro. Then clip studio. No, it's not as cut and dry is that either? Because what happens is there certain tools? Like I've mentioned that one software has, everyone doesn't. So there's a lot of times I just simply don't finish everything in one software. I do my drawing in one. I need to do some edits. I bring it over to photo shop May because I need to use a liquefy tool or or whatever. You know, it's I bounced back and forth. Now that's a little bit more difficult when I'm recording, so I don't do it as much there. But if I'm just working on a piece for a client commission, something like that, I'm gonna use the best tool at the moment to get the best results. Just just I'm gonna do it. It just makes the most sense. Um, so again now, if we jump in here and we go to adjustments and we go to something like curves again, it popped up on the screen. Let me bring that over. So, Aiken, I can play with this interactive slider and I can mess with curves. It's, you know, busy A So you can, you know, just the highlights versus the shadows and all that good stuff and you get a really need a fact again. I can hit command Z command shift Z and see the difference. I like that better, but it's obviously very saturated. Eso then maybe your pictures really saturated. Jump over here, hue. Saturation. You started dropping the saturation back. Also playing with the brightness lightness, I should say. See him lots ways. Edit the image. I won't get into this too much. The selection tool is pretty good. It's not as good as pro creates, but it's still pretty darn decent. But kind of the ending of the selection is always wearing notice. A bit more of the flaw and I can't stop anywhere and then undo you see that wherever I stop , it's gonna connect it. Now you do have, uh, paths inside a photo shop, which is highly effective. They do take some practice, but what Panesar is almost like vector graphics. You can really be specific. You can edit the past. You can save the paths. It gives you a lot of area for edit, but they're they're more complex to use, so one of things is getting used to using busy handles. You also have to hit certain keys to move them around. You can't just simply add another one, then go back and select it. It will select the handles, but you have to hold command to select it around and then command to adjust the handle. This way it's it's a bit tricky, but once you get it, there's a lot you could do have passed. Like if I'm gonna do something is very detailed, and I need some really good range of edits, you know, in advance seen creation. Chances are I'm gonna use some of the pennant path tool to help aid in that process. It's really great for design. Keep in mind to It's not, you know, photo shops, not vector base. It's brass ter base. But if you do really good resolution on you use something like the pennant path tool. You can actually get a very tight line. Work that is readily available are readily usable for vector based graphics, you might even be able to export those vector. I'm not sure about that part, but keep in mind, raster base is gonna be focused on the image and the clarity of the resolution and the, you know, the fate of the image. Things like that, uh, where vector base is gonna be, you know, exact line data, things like illustrator and think, you know, stuff like that. So I'll conclude this one here, we'll head over to the next lesson, talk more about the software. They will jump into the devices and talk a little bit about that. So with that, let's move on to our next lesson. 6. L5 Using Krita: now we're looking at is a software called Credit. This is open source. I don't think I've ever used this, but I purposely download this one to demonstrate for you because I wanted to give you a little bit of insight. Like how some of these will train you to be effective When you go, you know that information will be effective when you go to a different software. So in this particular case again, I've never used this. But I'm looking at things that, you know, kind of looked memorable to me. So the selection tools down here, the text tool busy a handles. You know, maybe this has some vector editing or pendant path. Effect shaped tools move. Tool selection tool. So line told so again, once you start to use enough of this ingredient tool eyedropper tool for selecting the color, you start to bridge the gap and you can use other Softwares. I'm gonna hit new file right there and again. We talked about what I like to use for information pixel data going to go two inches. So we'll do the nine by 16 at 300 peopie. I remember I said it was deeply I But then you also have lp I hear they're calling it pp I saw something different. It's lions, prints, points, print, dots, print, you know, I hit create. So what we want to do here is just see if this is, you know, usable out the gate. Basically. So I've gotta brush tool here I go to draw, looking at Penn, pressure is already working, which is amazing. So that's kind of me. And it's looks like a pretty clean line are, Let's see if it's interactive. Zoom Okay, it's not interactive. Zoom. So you have to do a drag over the area. Let's try holding Olt. It doesn't look like it backs up with all a lot of them do. Uh, let's see, How would we zoom back? Let's find a slider capacity. We got size here. So this is gonna be, you know, part of the problem with transept into you're gonna have to play around and make some mistakes. But overall, I do like the fact that the line went down pretty smoothly. See if I can take command Z up. Got that? So edit re dio, Let's go to Okay, here we go. So our percentage slider. We'll zoom back right there. So a lot of times just figuring out things like that, let's hold space bar so we can't move. Oh, yes, we can. So, space bar for move the campus. That's actually pretty much every software. It's like that, except for obviously procreate. APS aren't gonna be like that generally because of the keyboard, which I don't know, I don't connect to keep boredom. I maybe it would. But I am really impressed with the fact that the brush is actually really good. I love the fact that it's so thin like this with heavy pressure, I could get that variation. And the other thing is this You're gonna want to really feel out how how much control you feel like you have. You know where you don't get this is much okay, but I think that control wise, if I take my time, I could slowly build up to that that with of a pen stroke, which is really fantastic because again, with practice, you're going to get better and better control so you can get these nice variations to your your lines. Uh, love to see what I could do with cross hatching with us now. Right there. I noticed a little hiccup. Let's see what that is. Yes, I didn't like that. Um, and I felt that immediately. So what happens is another thing that you're gonna want pay attention to is the clarity of it. I don't know why. I just did that blur there. I actually just accidentally made a color mask. Somehow I picked the wrong brush. Mm. Not sure how I did that. I must be on different. Oh, yeah, the brushes up here. So this must be a masking brush. Remember, to you can hover over certain things. Yes. See, colorized mask editing tool night even. Sure how that works. Let's go back to this one. So you're gonna find things on accident? Obviously, for the most part, it feels pretty good. And most of those lines are coming out nice and smooth. It's weird. I wonder what caused those other ones. Maybe they were really small marks. No. Coming out just fine. And I would imagine so. I've heard a lot of people rave about the software and the beauty of it is it's free now. Exceed. Get different layers over here with the plus sign. Imagine naps. There's your layers. Get your groups, how we got factors, which is kind of me. Um, you're different mask options. So I'll tell you, just from looking at this momentarily, I would say it. This has a ton of good options. Ham's. I'm noticing a little bit of bumpiness to the broad stroke there, though right there, so that's not good. And that might be based upon certain brushes. So keep playing around with this. You're going to see it as much there. It's a texture brush. Well, let's see. And you know, I might get into creating something and then might not bother me that much. But I know how him that that's probably gonna bother me, you know? So there's gonna be maybe a little bit of give and take, right? You know, it's a free, open source program with a lot of options. This looks like it's packed to the gills with options, but it may not give you the exact thing. You're looking for a big part for me. I become hypersensitive. OK, so I've used enough of them now, and I've used them long enough that I become hyper sensitive toe little things like that, you know, little bumps in the broth, so brush strokes. So you know what makes me irritable for doing the work may not bother you at all. You may just have fun with it. Ah, And through that process, you may just kind of, you know, work around it naturally. And I get frustrated. So again, this is something we all have to delve into, see how we feel when we're using it. And I really stress that it should be about a feeling, you know, you're creating art, creating an energy and something from your mind. You have to kind of stay in that Evan flow, that feeling of creativeness. So you really want to see all this stuff feels to If the brush strokes and the painting don't feel right, then maybe that's not your app or software on. There's enough of these options out there. You're gonna be able to find when you like. So anyway, I know this is a bit of a mess because you just watch me fumble through this, but I want to show you that even never using this based upon what I know about other Softwares, I can get in here and play around with this. And I'll tell you, I'm actually kind of interested to mess around. This is got some really nice brushes. I kind of can't believe it's free. So at any rate, let's conclude here. We're gonna jump over into the next section. Now we're going to start talking about the devices themselves and show you the primary ones I use. I'm gonna talk a little bit about the stuff that I've heard from other people in their devices that I haven't got to use. But again, it's kind of that thing of anything will work. None of this will make you a better artist. Okay, you still need to practice your fundamentals, practice things that you can't draw campaign break things down. But there's lots of tools that will least help you in this process, and you've seen with things like liquefied selection tools. There's a lot advantages to digital art, so let's conclude here, head over to our next lesson 7. L6 Understanding the Devices Wacom Intuos 4: All right, Welcome back. So now we're gonna talk about devices, and what I want to start with is the one that I got started with years ago. What was actually in two hours? Three. This is an into its four s. So this is a whack, um, tablet wack on wakame. I guess it's, you know, said differently by different people. But I like to call the Wycombe tablet. And so basically, this is a medium size. Um, I don't think ever went with anything larger. I've used larger at different artists and studios. Things like that one in particular, really not artists is just one artist that I went over and they had the larger one, and it was about it. So the only difference there is that you have more elbow room, so you're doing a lot more flowing motions now, I knew this would be enough for me because I draw very tightly, as you could see by the area that's been destroyed, almost not destroyed. It still works great. Which is really a testament to these things as well. I've used this for countless, countless, you know, days, years. This thing has been really bulletproof so I have to really give it. Teoh Uh wah come from for designing this type of tablet out, All of them that I've used This has been the best bang for the buck. Now, a lot of artists are gonna immediately want to jump to drawing directly on a screen. Okay? And those have become more affordable eyes of late. But at the same time, I want to show you pros and cons and I want to give you the same, you know, direction that I took basically, And so what I can look back at and give you in the way of advice. So with this, I think it really was the best choice to start with one of these. There is a bit of disconnect. So what's gonna happen here is you're gonna take the stylist and you're going to draw on this and you're going Teoh not hooked up yet. I want to first explain a few things here, and you're going to look at the screen and draw here, right? Obviously So there is a disconnect there, but there's actually some strength to that as well. Like, for instance, your hand is not in the way of the artwork. You wouldn't think that would be such a big deal. But there are opportunities where it actually elevates your speed and it gives you some other you know, some ability that you don't have traditionally on. You got to take those small wins because first, you're gonna look at this and try to draw on it in the first day or so you're gonna go. Oh, this is terrible. I can't do this. I can't believe anybody could ever do this. I can't tell you how many artists have expressed that to me over the years. It's because you have to get over that hump of retraining your hand eye coordination. So we're gonna talk a little bit about that now. The other thing I want to show you. Before I actually demo, this was that it issues it. Use a basic human right in the quarter, a basic USB connector, and this is great because everything has these these days. Right back in the day when they first came out, maybe less computers had him. Every computer has its now some have higher speed ports. That's probably the only thing I want to make sure to mention here, you can plug this into darn near anything. But just remember, there are things like higher speed USB port. So, for instance, just because you report on your monitor has this doesn't mean you necessarily should use it for something like this. Now, I'll be honest. I've used plenty of different ports and had no issues. But I want to try to explain this in a way where it eliminates problems that you could face is a digital artist, because there's a number of in there. There's all these different, um, you know, variables. And when you increase variables in a scenario, what happens? Problematic occurrences and then you don't know where to look. So just keep in mind. If you want to eliminate a potential problem, use the highest speed poor, usually on the back, your computer device. Whatever. Just plug that in and avoid ones like monitors or even USB hubs. They might slow down the speed again. I've never had that problem, but I want to make sure to cover as much as possible. Like, for instance, a keyboard that supports it right may seem like a good idea, but the cable that's going from the keyboard of a computer. Maybe that bottle next to the speed, in which case you might have an issue. So I just want to make sure that touch on that I'm going to plug this in now in Des Moines . Talked a little bit more about this. And, you know, some of the pros and cons to using this type of device. Eso Let's go ahead and plug this in. Okay, so now I've got this plugged in, and you could see that as I create a stroke on the surface here, I get a corresponding show. Come the screen there. Right. So it's like this I can play around with Start warming up with this. Okay, Hit, delete and get it off the canvas. So the main thing that you're gonna want to make sure of is that you get a thick, that thin line, and that's gonna be defined in your your driver settings, which we're going to get into shortly. And then also another thing. And this will be, you know, figured out the driver settings as well. If you're drawing a circle, but you're getting a bit of an oval, there's 1/4 proportions and again we're gonna just sit in the driver's saying. But before we get there, I guess I want to start with one of the common problems that I have heard over and over again. And I face this tremendously in the start, and it was, and being able to draw on the surface and have it feel the right way against the You know what I'm trying to create. So, for instance, if I create a series of lines and trying to get those lines tightened, succession and clean and I may have faded them off, I do a lot of comic are. So you know, this type of line making is important for May. But there was a number of factors. You know, they're going to this again. Those variables. I'm talking about one of the biggest ones, Waas. Um and forgive. I have the buttons were tough. My stylist. I forgot about that uses since along. But these annoyed me so you can program these. I actually ripped it right out of there. Didn't want it in the way I wanted to feel like a pencil, not something with buttons on it. At any rate, I just felt like I should address. But the main thing that was a big help for me was figuring out the different tips. Okay, so maybe you could see here. This is the one with a ah, little white tip. Dan, it's a It's a black rubber one. Let me show you. The difference is here. So it's a black rubber. Uh, I should say a white river. It's a black plastic with a white rubber tip on it. Okay. And that has a lot of drag. Okay, A lot of resistance. I like that a lot. So what happened? Is it It came with one. It looks a lot like this, but just black plastic, and you're kind of sliding all over the place. Okay, so that's the first thing you tend to notice. Then there's other ones. That's another one that came with it. And it's a like has a spring toe back. And it gives a little bit more of a springy kind of feel as you're putting pressure on it particularly I never cared for that Never, never once even like to try. Tried it, never liked it. The one that I found. It was the first game changer where these felt nip Tibbs. I think they're just referred to his felt tips, and this has more drag against the canvas. So I was immediately like you, Fork. I was like, This is what I needed that whole time. That black plastic tip was horrible. This one started to feel a lot more natural on their actually affordable. Now, the reason why I ultimately switched to the one with the white rubber tip on it is because they last so much longer than the felt. Now, there's even Mawr dragged to this, so it takes some getting used to. But it does have that dragged that I like, um it gives me more control, and, uh, they last longer. I was I'm really heavy handed. So that's another thing you have to learn about yourself. You know, if you're bearing down on this thing, you're gonna wear through those felt tip Nibs which might get a little bit costly for you depend on how heavy handed you are. So that was the first thing that made the biggest difference was changing the tips on these and it's it's so easy to do, right? You just order some tips you try. And now your device is gonna come with a few of these. It has this little holder. You open it up and there's some of your Nibs in their summer ones I bought, but you're gonna see it comes with a few of them right when you buy the device. Now, the other thing I want to talk about is that you might even try things like taping a sheet of paper over this. Okay, so that's another thing. You can put paper right over this and still draw over it, so that might help you get that feeling, especially as you're making this transition. You want to allow yourself some time to get used to this device? The immediate thing is gonna be a sense of frustration because gonna be so different than what you're used to. You have to allow your self time toe acclamation in Inco. What? What's better about this? Uh, also for me? A big one was making sure that I had a software, the supported rotation. I could do a pretty good line on an angle or down. Okay. The moment I tried to draw to the side, my lines suffer especially won't look at that. I can't even get him in the same area. OK, so that's my hand mechanics, right? It's a way that I draw. So what I have to do if I want lines over here, I need to be able to hold our with this particular software, rotate by clicking against the screen and moving over. Ah, hold space bar. Forgive me. I can't get both the, um, keyboard in here, but I'll call it the keyboard. Shortcuts and space bar will give me that little hand and I click and hold across the screen. And then I can get these nice, tighter lines in succession with more confidence, more clarity. So it's learning what you can really achieve and then also maneuvering the software to make it easier for you to do whatever that action is. Uh, like I said about your hand not being the way I'm, I'm staring at the screen, right? So a big part is you'll start to draw and you'll think you're here. But you're over here somewhere, hoping to see that cursory increase the size so you'll think it over here. But you over here now you have the cursor to guide you visually. Some software is Don't have a cursor somewhere in his visible, you know, whatever, but but your hands not in the way. That wouldn't seem like such a big deal. But when you start really moving, when you're when you're creating lots of art and you're doing these different things your hand not being in the way, it can be very effective. Very useful. Now, you also have these short cut, you know, keys over here. I guess you can program each one of these. We're gonna get into the driver and I'll talk about those as well. These could be big time savers now. I just showed you I worked the button off in mind. So you can probably imagine I don't use these whole lot. I use my keyboard shortcuts and the main ones. They're gonna be Command Z for undue command. Why? For reduce. I can quickly had command Z command why? And go back and forth. That saves me a tremendous amount of time, little shortcuts, or like anything on a layer. You can hold ault and drag, and you could get an immediate copy of that layer. Commands eggs. I don't really want that. But really, there's just a certain speed that you get by going, you know, from your devices, tools and the keyboard. And again, not having your hand the way it does actually elevate you and making a bit faster. Um, and I think it helps that things like Cemetery. I tend to notice that when I draw in this set up, even though it's a little bit harder for me to draw, and the way that I feel like drawing feels natural, I tend to do better with symmetry because my hands not in the way of something like a face that could just be me. But I've heard other artists kind of talk about that. It's just one of those things where again, you're not having a move your hand and look at the art and do all these things. It's right there in full view the whole time, so you're kind of fixing errors as you go a little bit more effectively. So let me go and conclude here. We're gonna need to head over to another lesson. We're gonna talk about the driver a bit and then I'll demo doing some drawing and stuff like that so that I at least explain how I use this and show you if there's any differences that way. But let's jump into the driver settings and talk a little bit about that, so with that, let's move on. 8. L7 Understanding the Devices Wacom Intuos 4 Driver Settings: Okay, so with the driver settings, this is another thing that was a real game changer. So here I am, drawn on this thing, you know, trying my best to get clean lines and get something that resembles pencil and pen strokes from change of brush settings. And really a big one to go to is your system preferences. I'm working off a Mac, so this might be different or will be different for a PC. Might be. You're gonna find your weight calm tablet driver settings Now in here, you're going to see a few things because I have a son teak. We'll be talking about that as well. Eso there's different options for each, so I'm gonna want to make sure you're on the in tools or whatever corresponding tablet. Like I said, I like to call these desktop or laptop tablets like the holding on my lap is I draw. But really, it's probably better that stationary, especially as you're learning. You want to make sure again you take any inconsistencies out of the process, so make sure it's stationary in front of you and get used to that first. So you have one of the big things is that the tip feel Okay, so you have firm or softer pressure. I will adjust this base upon things like whether or not I'm painting or drawing or thinking . Okay. I was just that almost every time for each one. Um, just because I really have a different way that I like to feel Azam applying pressure to the pen for painting versus drawing inking. So you're gonna want player out the slider, But remember, always make incremental changes and test something. So, for instance, you make sure it's working for one. So you're not blaming yourself for any problems but Francis Goto firm, uh, you see, hopefully you see, I'm bearing down this quite a bit for what I'm used to. This is full pressure, OK, but the problem is suicide. Lighten up. I get a very light pen stroke. OK, not a bad thing. It's just, you know, a bit different from what I would expect for drawing now if I bring that all the way in. The other direction was to show you the extremes first. I almost can't touch the screen without getting a big, fat, chunky line. I still get some pen pressure difference at the end. So that's something to pay attention to. Because if you're getting this, that's usually very different. That means that your tablets now actually working you might need to unplug it, re plug it and reinstall a driver. It's not getting pressure sensitivity at all. It's a glorified mouse at that point. I mean, when you don't see any point, you just see a kind of a blobby line. So it's actually trying to still give me some pressure sensitivity there, but again, Like I said, I like it more in this area. But this will vary with the brushes. Usually I'll see a little hiccup rate at first, too. It's like making the transition, and then it should work. Fine. Okay, you know another thing to keep in mind This this is kind of seems silly. It extra portrays or is mawr noticeable on the other devices? But I do want to make sure to mention it. Here There are There's also a certain amount of slide against the screen that you're gonna get from oils from your hand, so sometimes when it gets too slick and slippery, you really need to clean the device. Some people also use a glove. I never use them, but I don't like the idea. My hands sweating as I drop. But you can use a glove that make sure that your hand slides across the screen eso that you're getting more of a natural feel to the pen now. I'll be honest. I actually brushed my hand. You don't draw on a very large area. I rest my hand. I stayed confined on. I kind of pivot off the heel of my hands. So So you know, different strokes for different folks, you know? So back into here, we've got our pressure sensitivity that we could, you know, talk about you. Get your customization. This is a busy A or what I call a busier handle. You can adjust this and then you can try it over here. I I'm gonna leave this right here again. Incremental changes. You're gonna change it a little bit. Test it, change it back. Okay, Really recommend that you do that, because if you get in here, you just start moving things around, changing things. You're not going to know where you started and where you end up. It's really gonna be hard for you to gauge what's working. What's not. You know, a big big one would be this mapping. Okay. You see, I've got multiple screens here. I've got it mapped toward the whole area of the The tablet is mapped to the proportions of the screen. This was huge. This was the road game changer that I wanted to get to. At first, this was set to I don't know what I know. Forced proportions wasn't checked. Eso There's a bit of distortion with that. So, for instance, let's say that we have, um Let's just even try this. Forced portions being off to go over to here, try to draw a circle. No, I tell us not to. Awfully bad. It's a little bit awkward, but what can happen is especially if you were say, for instance, on a square monitor, and I want to see that's it. Initially, what happened is that when I originally got into this, the monitors were square. Well, imagine if forced proportions isn't checked. Uh, you're going to get a very different version. Um, from that square monitor. So, for instance, if we go here and we un char, we check that you see that's forced this area of the device the usable area, to match that screen. So if this was a square, it be really distorted s. Oh, that was a big one right there. Tablet area being full or portion. This is gonna be better for you. If, for instance, you don't like working on such a larger or vice versa, you're gonna justice based on that. Now notice it distorts it at the same time. So you got to be careful with that. But I believe force proportions is going to rectify that anyways, Um, so, yeah. So forced proportions again, if you uncheck it, look out. Looks like a little more like a square there. We check it, it makes it the same, but smaller version of that. But now what's gonna happen? It's gonna feel like the cursor is moving really, really fast. Because I've defined a smaller area. I mean, look, if I go to the extreme left corner of what I'm recording, I can only get to this far in My my oldest didn't just do it by the screen. How about that? What? I'm drawn on. I go here, put a dot All the way down to here. Put it out. Look how you know tight I am to the device itself. So this is something to be aware of. So if you feel like you're moving way too fast, obviously you're drawing is going to be affected by that. You might feel like you're jumping all over the place and you can't draw, You know, even the simplest of things for yourself because you're just moving too fast. So that's where you gonna go into here, and you're going to give yourself a different area. I like to use the full area, but if I feel like my cursor is not moving too slow and I'm not, you know, throwing lines from a distance like this that I'm going to change that now, the other thing that you change that with zooming in and out. So if I zoom way back here and I'm working on a piece and I tend to start my pieces like this, then it doesn't matter. I'm still gonna work in a very small area to get like, a pose down, maybe working on some composition. Check out my lovely stick figure and but this is how it starts. So see, I'm working a very small area because I'm zoom back. So that's the beauty of digital art. There's some certain things that you're you're going to kind of compensate for natural because you have more options with with the artwork itself through things like zoom and jazz. But, um, so now we've got the the pen setting, you know, you've got DoubleClick distance. So this is like, you know how responsive it is. Teoh using the button that I disabled. Forgive me. I can't really show you that, but, um, or DoubleClick camps are actually tapping down on the screen. I don't find this to be something I have to worry about in my work, so I don't just that it all, you see, I disabled these now. Likewise, with the functions over here, you can set these toe all sorts of things. Someone come to fall. I would say, if anything for me, I would set, like here and here, like, undo and redo, you know, things like that, because again I use the keyboard shortcuts so much, it doesn't really matter a whole lot. Now this is a natural zoom, so that's pretty neat, because you can go right into here and you could zoom in and out by rotating like that again. I don't use that lot because my hands on the mouse and my mouth has a slider, so I used it over there. So this is just, ah, Magic Mouse. And you just think it's called Magic most and go like that. So again, it's nice if there's different ways to accomplish each particular task. Ah, series of tests. But some of them you're gonna find helpful. Some of them are going to be distracting in again. For me, this was distracting. So I disabled it on for May. Keep keyboard shortcuts was so much more effective. So that's really it on the drivers. You know, again, I'm gonna reiterate I really recommend that you play around with these settings and really making notes. Keep a notebook by your side, make notes of the settings you've changed and get in there and play around with it. You know, you've got some other settings here. Okay, Big ones are better addressed. This before it close up. You can also switch it from right to left. Solves. That means as you're looking at the tablet here. I've set toe left. I believe it's a left, right, Right. I'm sorry. And which is strange for me Because I haven't set to right handedness what it means. It puts these buttons over to the right for me that's being left handed. I don't want my hand on those buttons. So you see, the court is coming from the opposite side, kind of up and over. This is a flipped version, I would say, but I guess it's just a matter of the way you look at it. But keep that in mind that you can set that either way. So if the buttons air in your way, you can set that to the opposite side. Flip your tablet around and you're ready to rock so you could disable everything. So lots of features here again. Remember that if you're simply not getting pressure sensitivity on responsiveness the way that you want. So you get this blobby line versus something like this, and you've played around with all these settings, and it's still not working than chances are you have to uninstall and reinstall your driver . Now remember, PC's are notorious for having to restart your system I don't know if new ones are better than that. I use a PC and years, but keep that in mind. Sometimes you have to implement a driver, change and restart the system. At least restart the software that used utilizing it. And then also keep in mind that sometimes you have to roll back drivers. So a new driver comes out girl antsy, and you want to try it and you install it. Next thing you know, your system doesn't work the way that it did. So be careful that I actually wait for drivers to be on the market for a while. I read some reviews, mainly reviews that are corresponding close toe, the set up that I utilize. Then I update the driver unless it's a really, you know, immaculate update, something that I need. I really wait to install because it can throw a monkey wrench into your your set up, which will slow you down and distract you from being able to create digital art. And that's something you want. So it Anyway, let's go and conclude here and head over to our next lesson. So with that, let's move on 9. L8 Understanding the Devices Wacom Intuos 4 Driver Pro and Cons: Okay, so let me go and demo this a little bit for you before we move on to the next device. So again, you know, like I said, you're gonna rotate the canvas a lot. A doing the process. If you can't get the right feeling, obviously you can grab this and adjust in rotated as well. Um, like I said, it ends up being more of a lap tablet for me because I do that so much. Um, now, the other beauty of these as well, is that you can sit back. It can recline, right? You can really sit back in a chair on a couch and just go to town with ease. Position the monitor wherever you need. It s so there is a lot of kind of, you know, nice features of that as well, right? Because you're able to get really comfortable with a device like this and maybe set the screen up, you know, overhead. And we're looking up on your next nice and straight. You know, you really want to think about stuff like that with digital art. Because if you're sitting there for our where you're gonna be sitting there for hours, upon hours, you need to really readjust multiple times and keep your neck straight your back straight. Lean back, you know, take some pressure off your lower back, things like that. So these could be great for that. Um, you know, you gotta remember to they plug into a computer so you can also output these to a big screen and you can have a screen that's just massive. So that's kind of a neat and fun thing you can do here is, well, where if you're drawing directly on the screen, the screen is what you get. So one seem like that's a pro on a calm. But still, it's good to pay attention that so, um again your hands not in the way of the artwork, which is nice. I tend to find that drawing is a little bit more difficult. So if I was to just demo a quick I hear for you, if I was to draw nigh, you know, I got I got to really think about what I know about the I got to really make sure that if I feel any hindrance to my drawing process, you know, made my lines are a bit too out of control or something like that. I got to remember that that doesn't matter, because ultimately what's going to show through is what I know about drawing and I not about an extreme, you know, maybe it's an extreme lack of control. It's gonna pull me out of the creative process. But I have to remember that in the beginning your sketches should look pretty sketchy, right? They should be pretty pretty rough, and and, uh and that's okay. You want that? And on if you need more control, you move the canvas around you Do, you know, take take steps to aid yourself in the process of whatever you can't do immediately because it's a different set up. And plus, I tend to just say, Well, once I warm up, it's gonna look better. Okay, so I haven't drawn this today. I know that if I drawn this for about an hour, I'm immediately going to feel better about it. And then if I drawn this for a few hours every single day, eventually, I'm just going to stop thinking that I'm drawn anything but what I drawn. It's gonna become second nature, and I could just against say that because I've worked with other artists that do this and use this type of device, some one in particular that I know will not even use the other devices. They he could afford it as, AH successful art studio, but decides not to use sent ekes and iPad pros and all that actually prefers this device for the speed that he's able to develop. So you just got to remember that it's just really a a thing in your mind of what is acceptable on what will work best for you. And we're so used to drawing on paper that this seems strange at first. But ultimately you will get past that feeling if you want to. If you give yourself excuses of why not? Then of course, you're going to stop trying and you're just going to try to get the more expensive device, but it's not entirely necessary. So getting the drop shot on of the I clear again, I'm tryingto forget what I'm drawing on and think more about what I'm drawing and focus home again. What I know about the I not, you know that way I don't sit there and draw something, you know, on paper and then go to dry here. All the paper ones. It's so much better now. Another thing that you can dio is to kind of age yourself in this developmental process of getting used to a device like this is to draw me Eva razor eyes to draw on paper and then draw over it, you know, scanned it in, Take a picture with your phone, whatever you gotta dio and draw over. It s so we'll say that that's what this is Now I've drawn this on paper. I brought it in, and now I'm going to draw over top of this. So what it does, it changes the dynamics of it, right? It's like, OK, well, now I'm just trying to, you know, recreate what's in front of me, not draw it, and it changes the speed and what you draw in the way they might try to create these lines . And again, that's so important, because you have to remember that you're essentially just retraining your hand eye coordination, you know, So you might need to zoom in a bit. You might need to draw slower. You might need to draw faster I tend to notice that when I when I throw a line on this particular device like it did right there, I'll do it again. When I get used to throw in these lines, I tend to get a better line, and I might have to hit Command Z a couple times to redraw that line and get just the right connection that I want. I tend to find that the harder parts areas like this, where I'm trying to fill it and kind of stagger back and forth with enough control. I've done it for long enough. I should be able to do it. But I do feel that that's where I struggle a bit more mechanically. Um, so again, it's just training yourself to think of it a little bit different, like right here. I might try these lines a few times, kind of throwing these eyelashes. Maybe I throw, you know, both lines to get that eyelash where maybe when I was drawing on paper, I wouldn't have done it that way. I might not even have rotated my page in this instance. So again it's breaking some of those habits, allowing yourself to, uh, to try things in a different way that you might have done it before. But I can promise you, especially if you look for enough artists out there utilizing this stuff. It's very doable. It's very effective and flat out some people. Actually, I prefer using this device. I mean, if nothing else, for the savings and say, I don't even like those eyelashes. So back at my now in command, why and then I'll try it a little bit more traditionally, and I might need it to sketch these in and develop him one more time with an additional layer. There's nothing wrong with that. It's whatever it takes to get the level of refinement you want. That's the right answer and then eventually you'll start Teoh. You'll start to kind of bridge the gap. I think I think that at first I did a lot of techniques to aid me and using this type of device. But then after a while I just started drawing regularly on it on. Then there's certain things that you just realize they're way more effective, so you you keep them into your your way of creating. You keep, you know, drawing the new way Basically, instead of what looked like a way to bridge the gap just becomes becomes your new process. Um, so yes, so, you know, shadow on the inside of the eye. It's really trying to think about those eyelashes. They're horrible again. I want to change those. Can you see? I rotate a lot more with this type of set up, so try to throw these lines and I am a bit out of practice, so that does give me a little bit more of a wobbly set of lines. But again, I would just keep refining this until I get it. Probably the hardest thing is getting a good circle. I just do that. You can also now, obviously here, you know, if he just can't do it, I don't feel bad. There's shaped tools, right? Saying Go over here, create a layer hold shift. Where's your iris? Just like that? And, you know, I think a lot of people might look that and frowned ago. Well, that's just achieve all right, You're just cheating right there. And that's going toe. Make your art. Not as you're gonna be as good of an artist. And I would say that it's better to take advantage of all the tools in front of you on and then keep producing art every day and then slowly develop your skills. So not really ignoring the fact that something might be difficult. Training yourself to develop hand eye coordination, but again not hindering yourself from creating the art that you need to create. Because ultimately we have to complete work to be art, especially in the professional world. So just keep knocking it out. And through the repetition of practicing, you're always gonna look back to your work and realize that you've gotten better, that there was times that you needed certain tools and certain assistance There's large is the same way. There'll be times that you feel like you have to do something a certain way than to the repetition of producing work. You'll eventually not need the tools nearly as much. It's even like that, just trying to, you know, draw that next circle, which it's not that good. So I'm not going to leave it in there, feel bad about it. I'm not gonna feel bad about changing it, Um, and if I really wanted to, you know, again, maybe I don't want to make it too easy on myself. I want to challenge myself a bit. Hold all here. Dry your copy. Command t scale it up. You know, obviously I could have did the same thing. It just created the outline, right? And I would save myself some time. It's a headache, but sometimes his artists, we do want to challenge ourselves. So I'll combine these these ideas that maybe I don't want to ah, cheat a whole lot about that. All right, So rotated back. I was just a little bit off, but we'll go with that, and I'll just punch back capacity. Another layer. I would challenge myself to just trace over this. I mean, what better way to build your hand? Eye coordination, right? You take it in exact you can't draw a circle. So you put a circle on the page and he drove over it. Um, but ultimately, if I still couldn't do this, if if I get done and it doesn't look good, even with a couple of revisions or whatever, I'm going to use the tools in front of me. And I'm gonna create the best art possible for today, cause I know that. You know, over time, I'm just gonna get better. Anyways, my hand eye coordination is gonna get better. Uh, I'm gonna learn, you know, different techniques for implementing the lines and the strokes and all that. Maybe, you know, maybe they improve the no, the friction against the surface to the pan. And whatever it is, it's The main thing is that you just keep creating. That's that's the primary goal of an artist is just keep creating. You get better over time. Now the other thing, this is more about the software, but it does apply here is that the brushes themselves have a stabilization so or that being here, correction so you can adjust stabilization and get smoother lines. So again, this is that software specific. I don't want to get too much into that right now. They have already address that a little bit, but that's something else that you can play around with on. It's just, you know, making more and more of these marks, and you will get more more comfortable with it. Now, the other thing is that really you've got the, um, the parts of the illustration where you can just kind of move them around and fix him as well. So this is less of drawing, in a sense, but it's still very much part of being an artist. You still want to correct as many things as possible when they actually merges together first and all way down. And then, you know, I can maneuver parts my artwork and fix it his wall, right? So that was too far away from the top eyelid. Eso might do something like that and then adjusted again and just keep on going. You may want to have your shadow. You see, every time I pull the side, I get a bad line. Almost always when I start getting into the zone of drawing with this set up, I'm really rotating a lot personally. It's fine that it helps me get the best lines, and this isn't the line clarity I want. So I would I would do another revision, and I would just keep doing revisions and cleanups until I got what I want. I got what I wanted, uh, Teoh and clean up. So you know, that's how would draw nigh. You see it's less than perfect. Get some funkiness and the eyelashes here but overall, for not using this device in a while. I still like it. And I know that if I got in here and worked at it a little bit longer, I would be able to get to the level that that I want to with it. All right, let's go ahead and conclude here and head over to our next lesson. 10. L9 Understanding the Devices Wacom Intuos 4 Driver Pro and Cons Part 2: now, the other thing that I want to make sure to mention with this one is that the painting is just easier, in my opinion. So, uh, you know, in this particular software to really but actually just the, um using this type of device, I just feel like it's something about it is more, uh, elegant and free flowing with the painting process will say, Get in there and I add some value. Okay, So values just paintings to me is just like drawing. But, you know, you kind of drawing these values and sketch a man and any blend Um and there's different ways to blend. We'll talk about that as well. But essentially, you know, just blurs are not a blend. And then you just kind of smudged things around and you get those transitions from light to dark and color and saturation and d saturation all that fun stuff. Right? But what I tend to find here is that something about painting this way gets really fast. Like the drawing process seems a bit more difficult to achieve. But the painting feels easier to achieve. And I can't really pinpoint why that is for you. You know that might be specific to me in the way that I look at painting, Uh, the way that I paint things like that. But I was, I could tell you is it really seems to be evident like I every time I go to, ah, drop the opacity back here quite a bit. Every time I go to do this, I feel like I could just fly through paintings on, not even just feel that way. I time myself on all my different work. It's just one of those things you really should dio so that you and I see what it takes you to do. Certain things you wanna see, what your faster at and what where you need to improve your skill set and things like that . But for some reason, with painting, this particular device is just really effective. Um, so, yeah, maybe that's just me, but I want to share it because I want people to know that there are again. There are strengths to this device that not just the fact that it's cheaper, the fact that it's very effective, um, we had just kind of blending around avoiding the eyelashes. Could want to keep those solid and then using the really just this lighter version of a pencil and dropping in these values. So if I want a lighter value there, maybe I go through the whole area so that I could come back with, you know, white and define, um, more of this. I could drop this back just with the opacity, and then I could get in here and use it like a big marker. Really? It's the glorified marker at this point, but it works really well. Like you. Can you start to even get painterly effects with it because you keep overlapping these these brush strokes, like the eyes, were never white rights. When we go right through all this. Plus, it'll look better for when I do come back with white and again, you can kind of build up these brush strokes just like this. Do you want to keep some of that in there when you paint, right, you don't want it all to be clean, Smooth line work. Um, values. It's like that. I get any What? The blend and just kind of push some of that around, soften up some of the edges. Yeah, Again, I do find this to be one of my favorite ways to paint. You know, it's weird. I think it's because when you draw the line in there in your head is needs to be so specific, so very, you know, at a specific part of the illustration, you're really seeing it like that. This line has to be here. But when you paint, you kind of sculpt. And that's probably why I like sculpting. And with this way as well, it forces you to kind of let go a little bit more and lose some of that control. And the funny thing is, the control part is kind of. I think in a lot of ways it's it's deceiving, like you don't really want the control that you think you want, even withdrawing. I really likes you know, the energy that you get from loose sketching, and the hard part is when you continue to draw, you start to lose some of that energy, and you really want to figure out a way to retain that, you know, just like gesture, drawing for figure drawing. It's very important that you retain some of that energy into your illustration or uh, defeats the purpose. Like it almost. You know, um, a lesser version of what you could have achieved with your illustration. So there you go. There's my little i illustration. Obviously, if I wanted it to be better, I would just keep refining. Or if I want more energy, I would just stop right here. Maybe, Um, but again, I do see a lot of strength with this type of device. Hopefully, I was able to ah illustrate that for you. Let's go ahead and move on to our next lesson and continue talking about digital art. 11. L10 Understanding the Devices Wacom Cintiq 22: Okay, so now this is a way. Camps antique 22 HD. So this is an older model, but it's still good. Size 22 from corner to corner, I believe, is the measurement there. And you know, obviously the beauty of a device like this is it. What you see is what you get. Is faras drawing? So you immediately start to draw on the surface. You know, some of the same things that I mentioned the previous tablet are still going apply, but not nearly as much. It does a lot of the automatic force proportions for you. You're still gonna adjust things like pressure sensitivity, eso that you get a variation from thick to thin lines. All the same controls for brushes are identical. It's just, you know, basically, when you go to draw, you get the line that you try to put down. Unless you're having some kind of computer problem, you might get a little bit of lag. People do complain about things like parallax. So parallax means that you know the difference. I don't know if you could see it from this angle, but the difference from where the pen hits eso I was illustrated. So here's the glass. And then, you know, the the pen tip would be like this. All right. And then from there, the line you create the dot that you create is below that. So the parallax would be the distance in between there. So for that makes sense for it. But basically, you know, all that aside, the main thing is that you spend more money so that you could draw more naturally. Okay, Now, does that mean it's entirely natural? No, this is not just like drawing on paper. It's just not one of the main things that I want to make sure to point out is that took me a while to figure out was having a screen protector. Okay, so the screen protector, if we can peel it back to show you, but it covers the entire screen. I pilled it back before right here. So you just pill this back. There's actually a protecting layer over top, okay? And so, which presents its own set of problems when you go put it on there. Not easy, but you clean the service really well. You clean the area all the way around it, and I'm talking a foot or two past where you're working, you don't want to pull its gonna pull static. So statics gonna pull inward and dust particles are gonna go under And they're gonna be a pain later. A lot of them, Even if they're small bubbles, it doesn't seem to matter. It disappears visually, like you see a small bubble right there visually on the screen. There's a few, but once you turn the light on, they go away. You can program the keys on the side, just like the other device. Same rules apply for the Nibs or whatever. Eso I don't change the neb based upon, you know, going back from the tools to this. But the screen protector was a major factor in that. So without the screen protector, the Nibs still weren't enough for me. I put a satin finish or matte finish anti glare screen protector. On this, there's a few different brands. I'll make sure Teoh toe list some of them in the description or whatever. I don't have the names in front of me. One. Aiken, you know, recommend that I've used on my my ipad is the tech armor. This is a different brand. There's a bunch of mount there. The main thing I could tell you is that you want something that has an anti glare so that it has less of a gloss because the brush the Nibs will you know they'll have some resistance on there. But if you don't have that, if you have more of a gloss, you're going to get the same kind of effect. Ah, bit of a slipping and sliding effect. No oils from your hand definitely make a difference on these. I clean this all the time with the micro fiber and some very basic solution. Best thing, if you don't know what to use, is to use something like a mild soap like it. Don't dish up just a few drops with the warm water. There's obviously better things to use than that. But if you go with something too harsh of a chemical, obviously it's gonna be abrasive. It's gonna mess with the finish now. The other thing about this is generally the better. The anti glare, the better. The friction on the screen generally is going to hurt your resolution. It happens this way with all that I haven't seen a perfect screen protector yet. But for me, for drawing, for the most part, things like that. That's not a big factor made for my digital painting a bit more, but I always use a secondary screen toe. Look at what I'm doing after the fact I never used. This is my end result. Some people do in the better new or wait. Times have better color production, reproduction all itself for visualization. I guess I'm not gonna get into all that. There's a plethora of things to discuss with that as well, and I don't have that device to really delve into that. But what I can tell you is that the screen protector for all of its shortcomings offers some very significant gains in the way of drawing naturally. Okay, also, with this, you got to remember that the the device itself comes with it, a stand that for going cheese illustrations here. But it's the best way to explain it, nor use it comes down something like this, and it allows you to tilt. Okay, you only got a couple different settings, allows you to tell back and forth that's being the device right here. Okay. Allows you to till in position against the table. OK, table down here. Okay. Does something like that I really never cared for. The only thing I like better about this versus what I use now is the fact that it was very secure. It didn't bounce. Notice that I have some bounce here to what I'm using. The reason being is I'm using a ergo arm Teoh to maneuver this device. The benefits of that are I can stand up and draw, which is great for my bag. I can maneuver this all around eso that if I get discomforted in one situation, one position, I can maneuver. Okay, the drawback and the thing that a lot of people can't really deal with, and I don't blame him because it is annoying. Is this bounce Okay, so if I'm really into a drawing, especially detail ing, I will actually hold it with one hand and I'll get in here. I'll lean on it and I'll draw over top of it s so keep that in mind that the the device itself is very large is this is the older one. So it's a bit heavier as well. And this runs off a computer. By the way, you have to have a computer with this. This isn't a thing. Doesn't have a computer in it that runs it for you. So again, these are these pros and kinds you need to think about when picking a device and the singles a few $1000. When I picked it up, it's come down in price significantly, but I've used it over four years, and it's been solid. No problems. I mean, the only thing I could think of is that, uh, you know, now maybe after using it for so many years, the color isn't as good as it was or something like that. Monitor flickers very, very rarely, but it never seems to affect anything. It never seems to affect my output, so I just keep using it. So to me, when you weigh the options of it to go well, you know, it's a lot of money. I can't get into something like that. When you see the amount of time it's last the amount of work have produced on it, it starts to become very, very beneficial, like France. It's just the idea that you know you're gonna consume paper and pens and markers and all that stuff for what I produced on this over the past 45 years. Um, and obviously the main thing is that when you go to put a line down, you get what you're looking for a lot quicker. So if I was to draw a similar I again, I'm gonna hold this because bouncing a bit the way I've got it set up here Generally, what I do to is I put a book or a micro fiber or towel underneath it, Um, so I'm drawing a little awkwardly here. But I could tell you that it's it's a lot closer to realistic drawing. For instance, the pupil were the people that I struggled with on the other one. It's a lot faster to get that into place now. It doesn't mean that this is just a far superior device. I mean, in certain aspects. Like I said, drawing this is more superior. Um, painting. I would say they're, you know, they're neck and neck of the other ones better, but, um, But when you start comparing the price to it in the fact that you know you could buy, I don't know, 10 of the other one for one of these or one of the numbers are you have to factor that in, especially if you're a newcomer. If you're what this course chances are you're just getting into digital. Are so it's really important to be honest with yourself and not not put a tremendous amount of burden on your creative process. You know, start with the other one. Get warmed up to the idea drawn paper slowly Start to bring that paper into, you know the set up and draw over top and work up to a device like this. Keep in mind, I didn't run by this device. I had worked digitally for almost two years on the other device. Then I went out, got this and might even been closer to three. And I don't get me wrong. Once I did get this, it was hard looking back. I've used this a lot on then also. Now that I use my ipad pro, I probably use that more than I use this. We're gonna talk about that That one next. So again, main thing is the device itself is you know, if I had to give it some cons, right? Cons would be. It's big, it's bulky. You kind of have to posture up to it, especially if you don't have this type of arm that I told you about. Um, so you're more like at its, you know, like it working at our table. You posture up to that more, you maneuver your body mawr to the art table than the other way around the other device you can win over that set on your lap. You do all sorts of stuff now, once you get the arm for it, you can do more of that. Um, the other con. Is this just flat out expensive, right? It's just a big chunk of money. Obvious pros to this device are you get a lot quicker drawing process. You have more real estate, right? So if you like to draw large, this is definitely better. For that. I do find that it's easier to multitask on a device like this. I can have a screen here. I could sandwich a couple screens together for reference on this one screen. I typically use another monitor for that, but this is big enough where it will do that for you, so that's that's a huge factor. The icons and things like that are easier to read on something that's this large versus having to look at a separate monitor, obviously looking down at what you're actually drawing and drawing it. I mean, you know that Z more natural And then one other thing a pro that both of them have really that all digital are has is the fact that it's easier to record your process. So you're watching this content right now. I just set up multiple lights and overhead camera just to show you this in the quality of still gonna be less than here. Then if I scream, grab. OK, so the beauty of digital are is your screen cast and you're getting perfect clarity of the art process. So that probably goes without saying. But I figured, though, that in all digital art carries that weight with it, which is fantastic. And next we're gonna talk about that procreate on the iPad pro. So with that, let's move on to our next lesson. 12. L11 Understanding the Devices iPad Pro Apple Pencil: Okay, so I want to talk to you about the iPad Pro. I'll be demonstrating that procreate, but the iPad pro this particular one is one of the first generation, so it's a 12.928 gig. Uh, it's a really responsive drawing process. So one of the things that led me to want to utilize this is that I had read somebody reviews and the drawing process was just very natural. And I have to say I agree. It is theme, most responsive drawing process I've used digitally now that doesn't mean it's exactly as good as drawn on paper. It's just the closest I've found thus far. It also gives you the ability to export video on a lot of other options. You're still gonna wanna play around with things like editing your pressure curve based upon. I like to adjust mind based upon drawing, inking and painting. So the custom brushes air fantastic. You get in here, you can adjust things like streamline. So this is a big one for artists. It tend to find it more difficult to get, like a nice sweeping s curve and ah, flowing stroke. It basically blends the curve. Now, I'll be honest. I like to turn this down because I really want to improve my own hand mechanics and my ability to draw, so I'll use it. But sparingly. Basically, I don't want to develop too much of a crutch by using it all the time, so often times turned off. Now you're also going to want toe use a screen protector like I mentioned before. Ah, big part of getting the drawing process right, even on this tablet was using a screen protector. And for me, the tech armor anti glare was the best choice. Lots of options out there, But you want to look for things that are going to give it a satin finish or, ah, anti glare finish. And generally that will give you more friction across the screen, which will improve your drawing and painting process. Now, the big difference here is that you're gonna get used to things like gesture controls, case you're actually touching the screen. You're doing like a two finger pinch to zoom in and zoom. Oh, you're going to have to moving around a race, you know, like you could erase with a brush. You could do a three finger swipe across the canvas and little brace things, but it's also gonna move your canvas. You get used to again gesture controls and hand controls by touching the iPad. Basically, which isn't a bad thing, I think effectively, it's actually more efficient. Also, this is a computer, right? So you have a computer in front of that can do, ah, number of tasks they've gotten really good at. Making these APS function, like full desktop software, is in fact, amusing procreate here. But clip studio paint actually has a desktop version in an at version, and they're pretty much identical. Eso there's a lot of strength that right you're able to seamlessly work back and forth. The biggest thing that led me to really want to utilize this besides hearing that drawing was fantastic, was the fact that it makes you portable. Okay, and that really gets often overlooked. Like, you know, Do you really need portability? A lot of people drawn on our table Do they need to take the art table with him. This is like having a sketchbook on the go with all your tools. You're painting tools, your markers, your paintbrushes or colors all that stuff into one device. So portability is huge. It's very easy to apply paint toe blend that pain. And even though this isn't really my favorite for digital painting, a lot of people utilize this and do amazing paintwork, right? So you can look at different artists out there. And there's just a ton of artists that are doing some of the most breathtaking paintings you've ever seen me. Personally, I feel like the blending in the way that I like to blend in paint is a little bit less efficient in the way that I like to do it. Maybe I'm just a little bit too used to clip studio pain, and I've kind of mentioned that before that when used different Softwares, you're going to find specific tools that just really match up with the way that you like to create. So for me, this isn't my favorite way to paint, but it's very doable, and I have created some pretty decent paintings on here that I'm pretty happy with now. Because of the limited screen size, you're not gonna be able to sandwich screen side by side as well as you'd like. It does have that option. It's more an option of the iPad that it is in the at procreate. You can sandwich windows side by side and clip studio, but the screen just not that big. So when you do that, you're just more limited on best top space, right? Your screen. Real estate, in essence. And so that does have limitations. Now one of the things that I find is just really powerful special with procreate in the iPad Pro. The accuracy of the pencils fantastic. So when you go to utilize something like the selection tool inside appropriate, it is the ability to undoing reduce the selections, which is fantastic. It has the ability to pick up the pencil, restart the selection mix and curved and Polly Line kind of straight line selections, all in one shot. So it's it's very effective. It's actually my favorite way to use the selection tool. I've already talked about that previous lessons, but it's really a game changer for me. Like when I go to color comics, I almost always want to come here now, not because the rest of the software is so powerful. In a sense. I mean, it does have a lot of the options you need, but the selection tool is so effective that I find it hard to use really anything else. So and there's really a few things about this software that do that it has the liquefy effect, which I'm a big fan of, has a tremendous amount of undoes and reduced. Remember that you're gonna undo by holding two fingers on the canvas. Three fingers will redo so you could go back and forth in your illustration, a significant amount and also at exports video right from here. So every mark you create on this canvas is being recorded. So for somebody like me that likes to make videos, that is very, very effective. And also, I just want to talk about the apple pencil itself. It feels the most natural out of any stylist abused now. Obviously, the real strength to this as well is that you have to do less with drivers. In fact, you ultimately have to do nothing with drivers. The iPad pro is paired toe work with the apple pencil, so it's pretty set up and ready to go for you. So if you don't want to deal with all those driver settings and trying to figure things out . This one becomes pretty much a no brainer, and the apple pencil itself is just waited really nice. It feels like a nice natural drawing process painting process. The pencils thinner. E. I think it's just designed really well, except for the fact that doesn't have an eraser. That's probably the only hindrance. Now, keep in mind, you will have to change the Nibs as they were down. They seemed to last for me about a month to two months, per, but that's going very based upon how you draw. But if I compare it to the wakame stylist, I just feel like that one's too bulky and the apple pencil is weighted better in just a lot more efficient. So I really enjoyed drawing on this, so hopefully that gives you a better idea of this device. Let's move on to our next lesson 13. L11 Drawing Exercise on the Intuos 4 Tablet: Okay, So time to practice. And what we're gonna do here is this is already set to a blue line, and you could just import this. I have view grid on. I think that just kind of helps out a little bit. You could do it Either way. You could do this. Any software you got doesn't matter. I'm just gonna work over top of this, and I'm gonna take one of my brushes and practice drawing over this and see exactly how bad my hand eye coordination is with this tablet. So what you want to do here is try this multiple times. It's gonna be very telling It's gonna really expose some of the *** in my armor. And that's fine. That's what it's here for. It was a bit better. So through repetition, obviously, I'm going to get better and better now. Probably do repetition in an overall past. This whole thing, the reason why I made these different sizes is because I want you to think about, um, how you might do better at a different size. So one of the drawbacks to digital are is that you can zoom in as much as you want Teoh. So now this circle becomes the circle that I was just looking at in a sense before I was zoomed in. So I want to fight that urge because I want to know if I draw better, larger or smaller. And I think based upon what you can see on the deterioration of my tablet, I think that I draw better. Smaller that I tend to feel more comfortable drawing smaller, and I could definitely feel it in that one. Still definitely not a perfect circle. But yeah, I feel more confident, drawing smaller at this type of shape. So I need to be aware of that. Remember, I said, I don't like drawing to the side as much. It seems to feel awkward. And on this one, I really want you to try to not only draw to the side and put a bento line, but also that bit of weight at the end of the line. Just try to mirror the Lyon Thickness in the bend. That little flip right there, you see? It's pretty pretty bad right there at the end. But I mean, did you need to do that? Now let me do this. I also want to rotate this. Remember that you can hold our and shift, and they'll snap to, uh, different degrees, like intervals of 15. I believe So. Now let's see if I'm any more accurate like this, I feel like I am, But I could be It could be wrong, right? It could have a revelation and go. Why, actually can draw the side better than I thought. No, I feel a little bit more confident. That's one of things I can tell is that I immediately go a little bit faster. Okay, so that's another thing that usually coincides with confidence. We tend to move faster as we feel more confident. So you kind of have to weigh in on that as well. Now, make sure you don't go to Seoul, because if you go really slow, you're gonna get a bumpy line. Okay? You want to have some I don't know if you wanna call it speed, but just consistency. And you see this? Yeah. I was doing good up until I hit that bottom line. Let's sleeping to better on this one. No, this is This is hard to do in the sense it, you know, it's not physically taxing or even not even mentally taxing, I guess. But it's hard to do when you know you could simply in a software like disco click hold shift. And there you go, Perfect. Why? Why waste the time right? It's because the time's not wasted. We're We're trying to develop hand eye coordination. So we have to just do our do our sit ups when we don't want to him. That's what this is. This is our setups. And, you know, again, if you're really dedicated and you want to be really good at this, you won't do this one time you'll do it 100 I know that seems daunting. That seems boring. I just want to create Amazing are sitting on trace triangles. But you know what? This is the stuff that the hard work that gets ah ignored by people are That's not really, uh, totally understood by the outside viewer. So, you know, Frances, even when you're just creating art, you are basically practicing. But I'll tell you, the people that take the time to do studies like this and develop their skills passed just practicing, just doing they're going to develop their skill set even more so. I really believe that. Um, You know, I guess there's people that it would look at the opposite. I really want to get this triangle barrel on. Um, yeah, anything you do, you have to try to challenge yourself. And I'll be honest. I find this special, best particular triangle to be extremely challenging s Oh, that's a good thing home. If it's easy than you might want to take a harder look at that, because easy doesn't generally make you better at things. Okay, so now this when you want to throw the line from point to point, and I could see I need to practice here, um, Dario said find my zone. All right? Just like that. And again, I might test this from, ah, different distance. Like, I know that I'm probably gonna do way better further away, but let me let me find this out about myself. So now I'm a lot closer, which means I have to do a lot larger pass on the tablet here, which seems like that would be harder, more room for error, in a sense. Yeah, and even feels different against the surface of the tablet. I don't think I did too poorly at that, but I really think that I would. I prefer to do that from a further distance away like this. So again, we got to remember the digital art. One of the drawbacks incurs Talk about this in comic art that have switched to digital. You have to really fight the urge to zoom in all the time. You need to see the work in its entirety. If you're zooming in constantly and say, working on a character in the background, your detail in your face also, did you pan back to the print size, for instance? And there was all this wasted time. So you need to think about that. And likewise, as you do this exercise, you don't want toe, maybe overdo it. You don't want to be for the page. You know this part portion of the pages taking up the whole tablet and you're drawing from the top of the tablet all the way down. Unless that's just the way you create. Maybe that feels more natural, but I would probably suggest doing this from further distance away and again do this multiple times, so practices often I think this will really help you to develop your hand eye coordination . So now let's jump over to the next lesson and I want to walk you through a bit of a drawing and talk a little bit about that process. So with that, let's move on. 14. L12 Drawing a Creature Design Part 1: Okay, so now we're gonna draw something and put this into effect, right? So everything we've talked about and studied, let's go ahead and try to draw a piece of art. So what I want to do here is, you know, think about what I'm gonna drop it. Say so. I was thinking a bit of, ah, kind of a creature design a monster. Almost like, I don't know, like a crazy looking over type thing. Um, So what I want to do first is get in the broad strokes of this is gonna be more of a head shot. Um, I'm gonna giving these big theory kind of brows. Big cheekbones, big jaw that widens out as the head comes down. So get that in first bit of Ah, a widening of the draw like that. And I want to get a center line of the face. I think it'll be slightly off center is because, you know, center of tends to be so boring. So a little bit off center and began that really wide jaw. I can draw on some shapes on the inside to establish the big Chen. The wine, it goes up to the cheekbones those big zygomatic bones. That's what you call it on over. I don't know, Um, and then a really wide neck in the shoulder. Israel high up. So he's kind of hunched over a little bit. Something like that, given these little tiny eyes just couldn't makes the head look bigger. Well, Tiny knows it's kind of bunched up and wrinkled or something like that. Way appear big bottom lip jetted out a little bit of an under bite. And then, uh, you know, the teeth coming up. May 1 kind of chipped. I don't know. So something like that anyways, again, the broad strokes of this concept? No big browse, uh, big forehead, lots of wrinkles. But the stage very messy, very loose and again gestural. Just trying to find this concept. Um, I can't remember what their heirs look like. They have fears that kind of come off out of bed. I think like this. I don't know. It's been a long time since I've been face to face with an over like that from some big hoop earrings. Be kind of cool details am so at this point, this is pretty much the same way that I would draw on paper. I don't know if there's anything different. The one thing I could say about drawing digitally is that since I know I can edit so much, it tends to allow me to draw for a longer period of time and a in a loose fashion. Um, because I just know that I doesn't matter, like it just starts to look like, Well, I could fix that in so many ways. It doesn't matter. I don't worry too much about it where, when I'm drawing a paper, if the idea isn't going in the right direction, I might try to fix it sooner rather than later, especially from using a darker lead, because I start to think about messing up the paper a little bit. It's one of the reasons why I always use Bristol board when drawing traditionally, because it holds up so well to erasing, and I'm kind of a race aholic. But when when I worked like this, I don't worry about that at all because you know it doesn't matter. Just there's so many ways to edit this, it's it doesn't just doesn't matter, and the paper is definitely not gonna get messed up its digital canvas. So eso at this point, I don't know that it's a whole lot different. Other than again, I know I don't have to worry too much about it. It's, um, you know, which also might lead to me trying more inventive ideas, I guess, in a sense, because again, uh, through easy to change it like I might throw this weird little skullcap on him with a spike on the top. I would do that. That's not really something I would do digitally or traditionally. But I'll make sure to point out the things that are different about digital. I just have Teoh. I do it as I come up to it, cause right now I really want to focus on the concept of what I'm drawing. And if I don't? If I think too much about, you know, kind of like what I'm gonna teach ahead of what I'm gonna draw. It'll affect the The design process is character. Now. I also want to put like some scars and some imperfections. It's always fun. It looks like he's been battling. Get the worst into the deal a few times. Movies? Um uh, goatee or something like that would be kind of fun, maybe abrade off his chin. So although all this stuff is just fun food for thought. But you see, I get it in there very loose, very scribble e her gestural e. And I do like this drawing process for that reason, like something about drawing on this tablet is very loose in gestural. So in which case, you get a lot of energy to that concept, which is a good thing, because control could be deceiving of the hand control that we that we have or think we have at times could be somewhat deceiving. But it's hard because we fight for that for so long. We study drawing, we study how to get more hand control. And then we have to learn at times to let go of that which is, you know, not the easiest thing to to do Andi even to teach and tell someone to do. It's it just kind of look a like, really, it doesn't make any sense. I I thought we wanted more hand control, but there are times when you do need that hand control things that are more technical and precise, and you know Cemetery is probably a good example. No, I like drawing characters that have no cemetery because it it's so much more forgiving and so much more, um, enjoyable, I think. But there's there's beauty and symmetry of times there's beauty and non cemetery as well. But, um, but there's times when you really do want that feeling of cemetery and, um flowing design. Okay, so there's our initial concept. So it's It's nothing Teoh impressive yet, but it will get there. I'm thinking two like 11 I was that asymmetrical value. So maybe one eye and then the other one because of the scar, there's there's nothing. So it's all white correct terminology for that. But I You probably know what I'm talking about there. And then, you know, this big bunch unison this under by in this lower pocket of skin around the mouth. So, yes, all the information is there. And now we want to get in here and refine eso. Now I will make a copy of this. So I do. It's quite a bit with Meyer, mainly cause I like I like the stages of work. Anyways, I might even rename this as I go. But I really like doing this because it you know, it just helps me to see the direction that I was taken with work, and sometimes I'll go back. It's probably another thing about digital art that's so powerful is I'll go back and see when I started to veer off from what was already a good idea. So a quick way to softer racist has turned the opacity back. Add a layer hit command E on the keyboard. And so now what you're doing is you have softened up all those lines. Gentlemen will use a softer race. But it's just another way to do that. And now I can get in here. Ah, a little bit tighter. Uh, this is probably where I find it to be a little bit more difficult again. This isn't my, um, strong suit working side to side like this, but there's enough of the sketch in place where I should be able to make sense of it. Plus, this character is gonna be pretty pretty gruesome looking, so I can have fun with things like wrinkles. And and even though I'm refining a little bit here, I'm not by any means going right to the last refinement or the thinking stage or whatever you wanna call it, it's Ah, I'm still exploring ideas. Um, I think that's important because once you finally decide on something and you start adding in all your refined, cleaner lines, um, there's a different kind of process. Their your you're trying to put down just the right line for just the right area, and I'm definitely not doing that yet. I need Teoh still figure some things out, so I will generally refined something 2 to 3 times. I think I do that both on traditional and digital. It's very rare that I could jump into something and immediately know what I'm after and go right to refinement. I would say I probably practiced that more digitally. So when things I've been doing lately is, I'll put a drawing down like this rough like you just saw, and I will practice going right to have finished version like ink on. I don't do that traditionally as much. I imagine over time I will like whatever I do with one is eventually going to work its way into the other because again, I don't think of drawing digitally as or digital versus traditional as one of the other. I just don't think there one of the same and they need to work together. Um, you know, you need to be able to do both as an artist, but but generally, especially if I want the best out of my work, I'm usually going to refine it a couple times and play around with a series of ideas and changes. And then once I feel very confident about that, then I'll go for it. But I feel like I still need to work through some of these concepts. So this is a mix of adding in like, little bits of shadow, so it's really line weight. But think of it like, uh, like adding little pockets of shadow to bring out wrinkles and overlaps and, you know, make the character looked more gritty and gruesome, even at the stage, like a little pocket. A shadow over here. Well, shadows in the eye and make that look more rounded. Price should be flipping this back and forth as well. It's always a good idea. Keep in mind, there is a difference from flipping the layer, which is what you saw me dio to flipping the canvas, flipping the canvases nondestructive. I've never really noticed a bad result with clips studio, but I want you to be aware that there are differences because some software is generally will will blur the image by flipping back and forth. So essentially you're flipping pixel data back and forth when you're flipping layer. But when you're flipping the canvas generally, it's just a visual interpretation of the flip. It's the best way I can think to explain it. Just be aware that there generally as a difference that you want. Teoh. You really want to flip the canvas, not the layer every time, especially if you're distorting the layer like flipping it and re sizing it A Z. I think I mentioned before the pixel, that is, Ah, it's an interpretation. So the software is going to try to figure out what the next color is. No, in this case, it's just black and white still, but but still it has to try to discern when you're flipping things and moving them. It's Ah, bacon sometimes blur the image because of that is trying to figure out what the corresponding neighboring data is That's why there's a big difference from Vector to raster , or vector is coordinate based data, so you can do whatever you want to it. Flip it, resize it re color doesn't matter. But when you're working with raster based images like this, you just have to be aware that there's a different way that the information is is utilized . All right, so you get this big lip going across here, and I'm starting to feel a little bit more comfortable. I normally want to rotate this side to side to get more confident lines. But one thing I will say about this stage of the work I'm I'm still exploring ideas, right? I'm just playing around with this concept, trying to figure out what I want to see on the page, and I'm still sketching so drawing to the side and getting some wobbly lines. It doesn't really bother me when I'm exploring ideas now, as they get past this and I start to think more about refining the concept, I might change that. You know my thought on Bwana get more line clarity, Um, but there's a lot of artists that I have seen that do a really good job at being messy, almost right up to the end. But the way they tie it all together with shadows And, um, you know, the overall process still makes it amazing to look at. A lot of people get really good at just leaving that messiness in there and still having a ruling meat, um, piece artwork. So I don't know. I fight back and forth from this concept off. How clean do you really need all this stuff to be? Um, I like clean line work, but something like this I think I could let it let it be a bit more gritty and eerie, and that would probably help it. I don't think it needs to be, you know, pretty in concise. And let's go and stop right here. We'll head over to mix lesson and continue refining this artwork. 15. L13 Drawing a Creature Design Part 2: just keeping through this a little bit, you know, adding some thicker lines and thinner lines and really trying to start to texture. This is I go is well, what's flipped us again. I'm gonna go on, flip the layer. I don't think it's gonna matter. Let's also check it from a distance. Those I'm liking it so far. I mean, I could say that the mouth looks a bit crooked. I don't think it matters. I'm gonna keep going with it. I think that there is, ah, weird slam. But I think it's kind of lining up anyways and I'm gonna give him this bit of a bumpy had and I think it will add to the character type. Remember what I said to about drawing digitally? It's It's really easy, Teoh toe over zoom, zoom in too much and stay zoomed in on. You really have to fight that urge. And I've heard that from a lot of good artists. So, um, I think that in the beginning I thought that zooming in was one of the biggest strengths of working digitally. But then after I heard a few people explain it as to why you really don't want to do that? It started to make more and more sense on another Good one. About that is speed. You're just gonna work a lot faster. If you're working from a viewed out distance, you're gonna work with larger brushes. They're gonna make quicker, basically quicker, quicker edits. Because you, uh you're working at a distance with larger price. So if nothing else soon just the speed alone makes it worth it. I get this weird here going on here, but forget at all. I think that I need to let the here be rounded and then have some imperfections on the edging. Looks like he's taken a couple swords to the ear or something like that. All right, on this side will sit. I remember Iris placement is really important for mood and expression. So we have this tucked up under the eye which will make him look bit more un enthused. There is slightly angry. We're tired or both. My dad, I think lots of little wrinkles. It's to the flavor of a character like this. Okay, so now let's get in. But of the hairs on his chin, chin chin. Obviously it's pretty hard to pull reference for an ogre, but doesn't mean you couldn't pull reference from somebody with a cool chin beard. Somebody is very, uh, you know, brutish, muscular, whatever. And you can utilize that to do a bit better here with your rendition. So if you're finished, you know, if you find yourself struggling trying to draw this type of stuff, uh, just remember, reference can really help you out here. Regardless, If it's, you know, you probably shouldn't look for reference. It's identical what you're after. Sometimes you can study that way, I guess. But, um, but other times you just want to get usedto looking at something and then developing it into your own idea. I think that's more realistic anyways, in a sense, because again, when you're gonna find a picture of an over well, I guess you will, because there's so much cool game are and stuff like that. But that's again that falls right back to you might as well practiced doing portrait's, um, because you can. I shouldn't draw claim it as your own. But the good thing is, I've drawn enough ogres that I can remember it, and I always think that characters like like the Hulk or somebody or any big, brutish character you know, from comics or movies or otherwise. You know, so much good reference out there. But like I said it, it's a good idea to get used to looking at people and then pulling cues from, you know, even average people. They could have just the right expression or just the right hairstyle or beard or whatever . Um, lighting on the face. That's that's a big one that, um, you can look at a picture of somebody who's just let the right way, and you can just grab pieces of that and throw it into your fantasy art. This is better than the ideas are flourishing at that moment. I have times when I have plenty of ideas flowing, but it's because I've done it for someone of practice so many times where I did use reference. But then there's other times when Dad ideas even it even at the level on Matt, where I've been drawn for years, and it's just like they just stop like somebody shuts off the faucet and I have to figure out a way to get something done. You know, whether it's for a client or for myself, and you still want to get it done. I don't want to not draw because the ideas aren't presenting themselves, and that's when I go to reference, and it's it's kind of weird. It'll jar something loose and it'll get me moving and give me creating again. But the main thing is to create every day. I think that it's it's important, even if it's not your best work that you just get in the habit of making something every each and every day, thinking like some kind of like Turtle Shell. It was the turtle show. You kind of funny. Okay, that looks like a good helmet. Okay, Um, you never see him mounted some spikes in it. Something like that. I feel like he needs more details. Maybe after I had the earrings here, I feel like those would be a fun little detail on America's Got, like, something dangling from one. I don't know. We'll get into that, but But, you know, the main thing I want to show here is that if I was gonna paint this, um, this would be enough. This is all I would you know. This is a good enough sketch for the painting. Um, and if I'm gonna Inc it This is really be a good enough sketch banking as well. Like it's it doesn't have to be entirely tight, clean pencils. As long as I feel again confident of the idea that's in front of me, I could start to see it one thing in my ad like I'm sorry. One thing I would add if I was going to I think this for, say, a comic style or something like that. I would add in the shadows more clearly, basically anything that I don't feel as confident at, like the beard. Still a little bit weird, like the braids Not right. I know the patterns wrong there, Um, but it's close enough where I could look at a pattern of Roe parade and, you know, probably fix it. But if it's something I don't feel as confident as then I just redraw that area one more time. So this is probably another neat thing that you know you can kind of emulate and regular traditional art. But it's really easy, and visual are you can grab pieces of this and mask it off. Okay, so you can. You can put a mask over a layer. You can just select it copy and paste it to a new layer. And again, it wouldn't seem like that's such a big deal. Well, I just erase it and redraw it on. Traditional are. But what happens is when you start getting these more complex pieces, it saves you a tremendous amount of effort. You could just isolate that one area, focus on that one air and get it completed. Get it finished up. You don't have to worry about spilling over into your background or even other parts of your illustration. So, you know, masking can be a way to do that. But again, layers themselves or just really important. Really powerful for that. See if I need to see part of it. Most bends in the here. It was kind of keep picking around at this and, you know, developing it here and there. I was gonna give him some armor, but I think we'll just drawn these cool chest muscles. Big shoulders. Yeah, it's Ah, it's funny, because again, I was mentioned in the previous lessons. I haven't drawn on this device in a while and Now I'm feeling like I should be drawn on it again. Like it just takes that little bit of warming up. And I really hate the bite comparison like it's like riding a bike. But I guess it really is because I felt very awkward with it at first after not using it for a while and then within a few hours of developing these lessons and then ultimate, this will piece of art here, I feel comfortable again. Definitely not as comfortable as I got when I was using this every day. Um, obviously, just, you know, using every day you're gonna get very confident with the process. Um, but the thing to tell you hope for the biggest confidence booster that I could give when people are, you know, concerned with whether or not you know, this tablet would be enough because they were so enthralled with all the new technology is that I have to admit some of the most amazing artists I have ever met or some Sorry, shouldn't they met that I've that I've seen work off these types of devices, so it's just kind of neat, like it's not the device, it's the artists It's just the way it is. Uh, I don't wanna really name the artist. You can. You can find it by looking online and things like that. But the others, Plenty of artists that are just doing this amazing, breathtaking, our digital paintings. And they don't worry about getting the fancy Hi iPad pros and this. And I mean, don't We were on the great If you could get those go right, go for it. But if it's not in your budget, just know that you can find one of these. I've seen these used online for, uh, you know, just just that who now 50 box or something. And you know, you might go well, that's a lot of money from where I'm at or something like that, and that's fine. But if you're drawing all the time, you're gonna save so much money on paper that it's gonna pay for that 50 bucks if you like . While it's the computer part of it, you know there's there's any number of reasons why. Maybe it's not as, uh beneficial for you, right? But But the thing is, honestly, I think when it when you factor it all in this is cheaper, not more expensive. And that's just my personal opinion. I know a lot of people disagree with that, but I But I really do think that's the case, especially when you're like me. You draw so much, you throw so much paper away. Basically, from maybe like you know, Miss Strong and not feeling is in the moment or whatever. I have to do a lot of scribbling and crumbling up a paper in those moments of frustration with digital are you don't have that, you know, least not crawling up paper. So So there we go. So there's There's my doodle. There's my sketch of my mean over with some mom turtle helmet. And so now what I'll do is a wrap up here and I'll show you some painting techniques. Eso that you're getting a mix, you know, you're getting how would draw on this type of device and equally you know how it pain on eso with that, let's move on to our next lesson 16. L14 Blending with a Soft Brush: Okay, so now we're gonna talk about blending paint. And so let's create a document nine by 16 at 300 DP I hit. OK, remember, if you're not working in this particular software, not a big deal. I'm gonna try to explain this in a way where it crosses over to other Softwares. So the first thing let's just generate a selection could be a rectangular shape doesn't need to be very specific, but just something rectangular. And then let's go ahead and just fill this with color. Let's say a blue again. The exact blue doesn't matter, but you can copy down any of these numeric settings if you want. So just like that, we've got a blue in the place we can hit de select. I'm gonna hit command D. But you can just click off thesis election, and then I'm gonna hit lock transparent pixels. So the first thing I want to show you is it. You know, this is huge for digital painting because it makes it where you can't go outside of confinements of this rectangular shape. But when you goto bling pain, there's there's really a few different ways to do it and Um, probably the most important thing is that you realize that that all of them kind of served , you know, their own purpose are Siris of ideas like So when you go to blend paint with, ah, smooth brush, we'll just make this a darker blue and we'll just taken airbrush. That's the soft airbrush on Mrs in every software. So set the normal moon because it's locked over here, we won't go out of the confinements of the edging. Okay, so what we can do here is just brush in the paint and we could make the brush larger if we want a Grady int a softer Grady in or weaken, be very careful with even a smaller brush and press very lightly and evenly. So those are really a couple of ways that you control that Grady int. But essentially, because you've done it this way, you can get a very even Grady in. Okay, now some people will paint an entire painting with this method. I particularly don't like to. I think that if you do that, it tends to look too airbrushed or O r. Put it this way. If you don't understand how to really control the brush, it'll look to airbrushed. If you do understand how to control it, you can take a soft brush and make it look like a hard brush. And the reason being, if you scale this down far enough, it starts to look like a line. Okay, so, uh, you know, But you have to understand how to control that paint or it's not gonna It's not gonna work that way for it, cause you're probably gonna work with the brush too large in certain areas and you're gonna go for this overly soft blended look too often. Now, when you have this particular brush and you want to go back and forth, right, So you want to keep introducing, you know, maybe darker tones to this side, and then you want something lighter from the other direction you can hold all, and you can select any area of it and paint back the other way. Likewise, you can introduce a lighter or brighter version of this as well. You could skill it down and make it more pronounced than any specific area. So there's lots of ways to really look at this, you know, you can grab a certain area. Say you having a tough time getting the transition in the way that you want. So you hold all you grab in the middle and you just focus on that area. Then you grab here, focused on that area. Grab here, folks on that air and what you're basically doing is utilizing the grading of the brush itself. But you're using the linear aspect of each area in this, you know, this Grady in, you know, So it becomes really easy to blend this way. And you could do this with a solid brushes, Walnut, actually that next. But I just want you to understand that this is probably the easiest way to get a nice controlled Grady in. Now there's other ways to look at this as well. So if you, for instance, is probably best, uh, you know the best time to really use this is probably on something spherical, right? So you take this and you fill it with we'll say this light blue. Sure. We got to create a new layer. Now light blue will like transparent pixels there like that may indeed to de select. We will grab this brush will go something darker and will now paint around it and on a spherical kind of motion. So we're taking this, you know, this two D disk or circle, and we're turning it into Ah, spear. So this is a great practice activity. I'll be showing you this in a little more detail. But first, I just want to explain the, you know, the way the best used the soft brush for shaving are playing pain. So just like that, you've got a spherical feeling to this. You can select anyone the canvas, It is brighter blue over here. And you could do something like this. And just remember that as you do this, if you keep taking this lighter color and you know you keep going brighter and lighter with it and smaller and mawr, you know, kind of like a hot spot, right? You're gonna eventually get something that looks shiny. So if you keep doing this, get down towards white keeps killing the brush back each time, and then you get to a very, you know, noticeable high spot. Right now, I've got the brushed entity way back. So it would have been quicker photo put that back up. But notice how, as I implement that it starts almost look shiny. Okay, Now, that, coupled with if you were to grab just a blending mode of like add glow, make this a bit bigger. You can really punch that up rather quickly, but again, the soft brush is going to be very easy to get those great aunt's okay, But also I just want to make sure to reiterate you don't want to use it too much. It's often times you can see an amateur's work because they use the soft brush way too much , and they're not yet knowledgeable on how toe pull it back and how to use it in a way where it doesn't look like a soft brush. For instance, you can do portrait's beautifully with this, this one brush. But you have to really know when to condense it down, to get a little bit more of a harder edge kind of effect, or you won't ever end up with characters that have. You know, if you need chiseled features, it will be more difficult to get that. But again, great thing to practice. Easy way to get blending s. So let's go ahead and stop here, we'll head over to the mix. Listen, I want to show you how to blend with a more solid brush and talk a little bit about that. So with that, let's move on. 17. L15 Blending with a Hard Edge Brush: Okay, so now I want to show you how to blend with a solid brush. So let's start with the right tingler shape here. What's going to fill this back in? We'll start this later. Blue. Just fill that in with the solid brush. So, for instance, when I say salad brush, you know you could do it even with this, But it's gonna be more difficult the more solid the brushes. Okay, so if we take one that I like to use and it's a little bit more of a solid brush nice transition from the soft brush that I was talking about would be the darker pencil. So you're probably thinking yourself, why would you paint with a pencil? But you can really take any of these brushes and make them work to your advantage for painterly effects. So one of things that I do like about this brush is I can control a nice feeling to the translucency. OK, so when I say salad, I mean more of a solid edge. So if I was to bump this all the way up, then I would get a very solid look to it like that. But I still have a little bit of control to press very lightly and get a variation from light to dark. That, coupled with you know, the brush density here. I can really control that. You see how if I press really light, I can get a variation of that eso A lot of times I will find myself painting with this brush quite a bit. So let me show you how I do that. So if I start over here and I kind of blocked in, let's go halfway block in Ah texture. That's a full pressure. Gonna do that again. Full pressure, full pressure. Well, pressure. You can see the pad in there, right? And then if I get over here and I want even darker, I can just choose to make this a little darker, Get another level of value shift. Now the thing is, is where it becomes tricky. I actually like creating these types of, you know, radiant lines in a sense, through my paintwork and then building up over top of it. It tends to give you a little bit more of a painterly look. So the other way to look at this So is that you can take each one of these now. And since there is a little bit of translucency to this brush, I can even blend by, kind of crisscrossing these. Get another little level of transition, hard to see, but it's in there. So, like here, it should be a little more evident. Let's make it larger. 60 of better, but see how I could keep taking that over Olt. Some holding all I'm selecting the new color. I'm putting down that next but of color, but it's a bit more faded, so it's it's blending it and you go back and forth with that concept and again, the neat thing about this is you're creating texture as you do this. So when you start to paint more and more, you start realizing the importance of texture that it's just, you know, that's what paintings are all about. Like you can do soft edge painting, I guess if you want. Maybe that's just part of my personal taste, but I like this kind of look, I want some of this in my paintwork, and the more that I built up upon this, the more it's gonna enrich that painting. It's gonna give me lots of neat little details and on. You know, when you start paying attention all the surfaces around, you realize that nothing is really void of texture. It's very, very rare, if ever you'll find things that are void of texture. It's like when people first start painting skin, they paint skin. You like this down here very smooth. And that's just not how skin looks. Takes tons of texture to make skin look impressive are realistic or whatever. So just like that, you can blame that across, and you can keep going further with that. But again, I like to keep some of that texture and come back the other way with light. Now I can brush that, and and even if I go too far with that right, say brushes in its two white. Okay, that's alright, because Aiken work over in this direction. Blend that back. I can keep blending over until I find what I'm looking for. Once I get over to here, I can bring this back the other way. I also recommend to that instead of like making it two straight up and down, like a bit over here, you also play around the concepts of brushing on an angle and really see what that does texture wise, like criss crossing your brush strokes. Now, when you're trying to blend, you're going to get a better blend by going in the same direction, overlapping these strokes. But like I said, for texture, you really want to kind of get messy sometimes and show, you know, see what you can do there. So, yes, it just like that. You know, we've got some blending going on from, uh, relatively solid brush. I don't mean entirely solid, because obviously, you gotta have a little bit of translucency there to make this work. Um, but this is actually a really good way. Teoh blend in pain. It's one of my favorite ways. Something a little bit of darkness over here. Bring that over. Actually bring that over further Does. And I just like paying attention to the overlaps, a little bit of texture and pattern that we get as we do this. Try that out. So now let's try it on the sphere. So over here, let's play room with a little bit of a variation to We don't want to do all the same color So it's trying. Something different will start with a de saturated relative, a de saturated green. Now this another thing. We'll talk more about this after we get through the blending. But saturation is something something else you want to be careful of when doing this. Um, do you want to really try to stay de saturated first? Especially if you tend over saturate. So So now with this same thing, I'm going to do this, but I'm gonna think spiritually now. This one's more fun, actually, because you're you know, you're not thinking so linear. I think it still straight up and down. I'm gonna be a bit messy at first. I'm actually just gonna try toe drop in some value shifts. I will start to come back the other way. She wants a more variation in here, se. I'm just being really messy, and then I can always come back and clean it up. But what happens is, since I've added that little bit of messiness in there, if I stay a bit translucent with what I'm doing, you're still going to see some of that. So that's gonna be evident in the end result. And, um, it's really kind of a neat thing to do because your paintings tend to just look more interesting. But I think it was hard for me to start doing this because I always associate ID, you know, clean, clean lines and clean construction of the work as to being more professional, more beneficial to then result. And I really don't feel that way anymore. No, especially painting. I feel like you just have to get in there and be messy at times and then see what you can make of it. I think it sparks the most ideas. It generates creative thinking. They could just have to really play around with it. But again, I am still trying to keep the value shift in mind. So as I do this, I'm still you know, my light source is still here. And then I want to just kind of paint back in this direction and then, after get enough of that in place, I want to just kind of blend again. That's old. No scaling the brush, two different sizes, still thinking relatively spare spiritually, even though I'm obviously being very messy and kind of silly with it, I guess. But you'll see as we start to work bag can blend this back as much as I need to know if I want this to be cleaner and I feel like of went too far with this, the quickest solution here would be to just grab a blending brush. We're gonna jump into those next. But I want to show you right now how you practice that with just what we're doing here. Just this particular method. Let me show you how it clean this up so far as to say, get It's right here. And I'm like, Wow, that's just too much texture. It's messy. It's not what I was looking for. I'll show you how I would clean us up. So just start here and use a little bit bigger brush, kind of Ah, you know, even this over here. And then I would just work over actually going to get a little bit of an overlap each time . Let's see, I can push all that texture back now if I want to. I'm not gonna push every bit of it back, but I just want to show you can realistically get something that does look relatively airbrushed, even with this type of brush, but I like leaving some of that texture. It just feels to me it feels more interesting, you know, like I if I was to compare these side by side for painting, I would I would want to lean towards this style of painting over here. So just like that, that shows you how it used a more hard edged brush. Essentially. But I can still blend. And if I kept going, I kept zooming. And I could get this to be a smooth as I wanted to, but I wouldn't want that. I want to keep some of this texture. So now let me show you how to blend some of this paint with actual blending brushes that come with software and that are actually, you know, in all of them. Really? So with that, let's move on to our next lesson. 18. L16 Painting Texture with the Droplet Brush: Okay, So don't want to show you how you would incorporate a little bit more texture to this. Now I've got all sorts of custom brushes and things like that for texture in again. I'll share any of those with you if you're using this particular software. But I really just want you to understand that if you see a great texture, you can grab it. You can convert it to a gray scale, and you can drop it in on. That's really what these brushes are. Some I've made by drawing the texture or painting the texture, and others are actually just finding a cool texture and then utilizing it. So you see this? This looks like animal skin. This would be there be from a rhino or an elephant. But the beauty of this is that when you take something like this and let's say let's put this to multiply over here, we're gonna paint right on the sphere, and then it just immediately drops in that texture. Know that watched away all the other texture, so I wouldn't really, you know, implement it like that, probably go back to normal mode of right click here, go to select from layer creates selection. Adelaide overtop set it to multiply, and then I would brush in this texture and again it covers it up. Now what I can do is because it's on that separate layer I can slowly blended into their Um , it was pretty dominant texture, but what I would dio is that would utilize that to pull from and then build up upon. So I would start to highlight some of these edges eso again. It's a reference point, So I just want to show you that I'm not going to utilize that one for this particular lesson. But I just want you to be aware that textures come in all shapes and forms and really, they just once you convert him to a grayscale and you add it with a multiply blending Muller, whatever you can do it a number of different things. Now one of things I like to explain to people is just how powerful it is to use, um, just regular kind of stippled shading. So let me show you what I mean. There those are little blobs. Don't much like those. Let's find let's see here droplets so you can control the particle size of this particular brush, and it just becomes very effective. So, you know, let's say we drop some of the sand at one opacity something like this and the reason I like this because it's actually sort of like a couple brushes. And one when it comes to noise patterns because a lot of noise brushes, noise patterns will be to even. This has a nice variation all by itself. I can bump up the capacity actual Let's go quite a bit more succeeded like that. And then I can also change the particle size again and they'll pass it again so you can create a lot of, like, little variation there. Now, this is the way I would really develop skin. Okay, So if I'm sitting there painting skin, especially like a monster kind of creature designed, I want lots of this little variation. In fact, I probably want to take full opacity, even a little bit darker version and away smaller particle size. And I want a really kind of beef this up like just really show lots of levels of variation . Uh, I might even grab a little bit of light source in this case, I would have to add a new layer. I've got this one set the multiply and maybe do a little bit of this in the areas where the light's hitting. And for that I might make it, you know, really small particles. So you see, there's a lot of ways that just, ah, simple noise pattern, in a sense, you know. But again, this one does have a variation to the way that the you know the dots and they're not just dots, either. They're, you know, they're kind of bumpy, you know, skin imperfections. It's just a great brush on again. I'll make sure it's included in the course content for, but these types of effects could be really great for making this stuff look a lot more impressive. So as you look at it without these two layers now, there's a big difference from that. That and then you include also, you know, a little bit of blending modes with it. So, for instance, as you start to paint on this, you know, you might start painting over the top of this now and developing it even further, so we'll talk a little bit about that next but that's Ah, that's more in the over painting process. So what you're doing at this stage is really trying to figure out what textures make what you're looking for. Overlapping them together, getting a nice enriched kind of feeling and flavor to your paintwork. And then, yeah, once it once it gets those ideas flowing, you can really start to paint Freehand again right over top. So it's not that you're always gonna use brushes. You're always gonna texture. Sometimes you can take the entire painting all with free handing. This there's times I've done that were I just kind of get in the mood toe, hand pain, all this. But I gotta be a little bit more meticulous and get in here and you really just add in little docile imperfections, all shadows. So a lot of times I'll add like a light source on one side and then a shadow on the other. And then I get like this. You know, this, like little imperfection, right? Is little bump and that's that over paying, I'm talking about Well, we'll do that next, So let's head over to the next lesson. Let's do some of this over painting and I'll show you how we can add another sense of dimension to what we have here in front of us. So what? That let's move on. 19. L17 Painting Imperfections: Okay, so now I'm gonna just double click here, called us over paint painting like that. So, again, at this point, I really just want to show you how to make some of us like a little bit more dimensional. So again, you have to kind of go into it at this point. OK, what am I really painting? What am I looking for? Cause now the randomized aspect of it is a little bit off and then we're trying to create, you know, we'll say it's skin imperfections or something like that. Eso With that we can take and select what's in front of us on the canvas, hold all. And then we could, you know, show a little bit of difference from one side to the other. So well said, It's like a big mole or something like that, and probably a bit brighter for the light source. And you know you want to play around with your brush intensity, so sometimes you have a better idea of what something should look like. Eso. You want to get there a little bit quicker. Other times you want to slowly build up to it on. Then also we want you know what? I should have just go back and forth all X on the keyboard, and I use the shadow on that other colors. That's the benefit of these colors. Watches over here, you can just hit X and go back and forth. So you see, just like that, it makes this kind of creepy looking bump. You know, the skin or whatever, and that's something you could do all throughout. And you can really add that next level of depth. It's pretty easy to dio and again I'm utilizing what's in front of me to do that. So I'm just taking, um, little bits of the information that's already here. And then I'm just painting through it so on. They don't have to be circular, you know, you could mix up the idea of, you know, maybe some better, a little bit misshapen. Let's try. That was trying. Bring one that's more wide. I can also play around the the way it's in the shadow, for instance, so you can hold all here and select the neighboring color. And, you know, put this one a little bit more in shadow because we do want to think spiritually about it. So it's easy to say, Well, I just want everything to have this bright little light source against it or whatever. But then, if it's in this bit of shadow over here, then maybe it doesn't read as well. So that's when you just kind of grab some of the neighbouring color, maybe paint it back a little bit, play around that concept as well. Now the other thing is, you know, this is real simple, as Faras actually really get painted that back too far. Let's just drop that back. But the thing is, I feel like, you know, if you look at these, you're all kind of raised little bumps, right? But we have to think about maybe indentations as well. So let's try that. So we take the same little hint to something. Let's say I will just say something in the light source here. So instead of this being a bump, if I add the shadow to the opposite side, so now the shadows over here, for instance, from you know, just paint something in a little bit larger that resembles what we're talking about here. So I paint in the shadow here and then I grabbed the light source like this, and now that's on this side. It becomes a little bit of a divot, so it almost looks like a small crater or something like that. And then you could take that as far as you need to. But it's on, and then I could bump back. The capacity may put a little bit of a shadow inside of here, so it's a little bit brighter on the outside bridge. And then likewise, I could take and add a little bit of light to the outside bridge of this area. And again, it just makes it look like a bit of a divot. And so this is obviously pretty basic right, raised and recessed. But that's really a big part of what you're gonna do with your paintings, and you just keep elaborating on that. So, like another thing I like to do, No. We'll say that we're trying to get some you know, we're looking skin or something like that here, But even with skin, I tend to draw like imperfections of like scratches and stuff, right? Like maybe it's a soldier and it's been through battle, and so a scratch is kind of a neat little detail that you can do with the same concept or vein, you know, in a vain and a scratch there would be opposite off. What? You try to accomplish that without a scratch, We're gonna take input, you know, highlight line like this. And we're gonna put a shadow again. This is gonna be an indentation. So, baseball, where are light sources? The shadow is gonna be over here, and then I always feel like the shadow needs to be pretty messy. Like if it's to clean of a line, it doesn't look like, um ah, skin imperfection or scar scratch. It just looks like I don't know. I can take a piece of string over the that area of the body. It's gotta have some imperfections. So it's gotta have a little bit of, ah, bump in a missing piece of the shadow or whatever, and you could do that on both sides. Odysseys. We want it to be just kind of randomized. Um, so that play around that concept maybe want a little bit more like catching is in a pretty break part of the the area that we've been developing and again You don't have to just do this lines. You can get in here and you can shade toe one side a little bit with a lighter value. So it has a little bit of, ah, kind of a bumpy feel to it. And again make areas that are that are thicker and just really play around with this concept. I just keep doing it until you feel like it looks like the finger after Andi. Just remember with lines to smooth mess it up a bit. Now these a lot of times I will do these with a separate layer. It's just easier to kind of added it as I go with the separate layer. I can just you know, I could even throw in like a mess, transformation and warp it into place and see if that looks any good. But but something like that, I mean, it just looks a little bit more interesting. It's Pam back soup. It reads Okay, Yeah, it just looks like a almost like some scarred up tissue or something. But if I keep pushing that that idea that you know, the one side is raised a little bit and I do that with light source again, Let's get in here. Keep playing around with this light source. I want to make it look rounded, but also random in the way that it goes around. Shouldn't look to Even. It needs to have some mom areas worth Bumpy's Mary's words. It's indented a little bit, and then you just keep going out with that concept, they were fades off and then it comes back. So that kind of looks like if this was a blade mark or something like that, it skipped off and you know that it caught again. So little things like that do a lot for areas of the painting like that when you just kind of think about that as you as you're incorporating these these details that's a little bit too dark, and then down here again. As we get towards this area, that's you know, it's going spiritually away from the light. We have to think about that, even with our details. Have to try to paint those back. Eso No. What I want to show you is that you could take this and ultimately keep fixing the light source as you go as well. So even though we have applied some texture and some little ideas into this concept, weaken still paint in and bring out some of the light source in the shadow without hurting any of those paintwork. So let me show you that next. So what? That let's move on to our next lesson. 20. L18 Painting with Blending Modes: Okay, So for this part, actually emerge what we have here together. So I'm gonna create a group, and then we take everything from this sphere in the over painting dropping in that group, condense it down, and then I'm going to copy it. This this just gives me a backup of everything we've done thus far. And I'm gonna right click here and go merge with selected layers. And I connect command d the select there, and I can like transparent pixels. That way, if I paint inside of this area are over top of this little, it won't go outside of Syria. So now what I want to do is show you that this is where blending modes and brushes could be so effective. So, you see, we got a fair amount of texture going on here. Looks like a weird planet or something. But again, this is kind of practicing for skin tones and or skin imperfections, I should say. And so now what we can do is we could take this and we could say, Well, you know, the the highlight here. I just feel like it would be shiny. Er right. And that's kind of what I'm seeing there. So I'm gonna take a soft brush and I gonna set it to one of the highlight mode So it could be like glow dodge aglow, Strike low dodge And let's take a different color. Are different version of this color, I guess a little bit brighter white. Let's just try that. We'll just start here so I could scale this up and I can hit this area. And what it's gonna do is it's gonna react to everything on this layer now. So this is a good way to kind of punch up the intensity of something, and you can paint into the existing details. As you do this. You can add in some some etch lighting from room lighting, whatever you want to do. But again, what's neat about this is it since we've already implemented all these little textures, all this little bit of information, the highlight brush is working with that because it's all merged together and then likewise , if we were to incorporate a shadow, so maybe set to multiply same soft brush, we could brush through here, and we can really, you know, darken up this information, right? Um, so It's just it's just kind of neat how these blending modes applied to the brushes and the layers. Not every software has that, but it's pretty predominant now, and it just saves a tremendous amount of time. So you never really have to feel like, Oh, you put in all this texture all this time and now I gotta blend it all back and start again because I forgot to add something. I mean, even with the droplets. So, for instance, a phone and more of these I could set it to multiply, and I could brush down into here a Let's see, where is my particle size? Here it's a little larger. Let's go something darker. And just like that, I can. That's what it was, was actually set that light color. But I can brush inm or the sound here. And if it's too evident, which it's pretty solid, pretty dark, I think I'd want to slowly work up to that, so maybe punch back capacity. But again, I could drop some of these in here. If I want more era at it. I can always add a layer and you know, but again, I'm trying to show you how the blending modes themselves can keep introducing more and more information into this existing paintwork and keep propelling you forward. Eso for me, a big a big one is just really the soft brush like being able to shade something continuously. And, um, you know, make a darker. In fact, I think I had the light color selected it first. So see, now it's dark ing up pretty pretty good. Um but yes. So this is really you know, it's an effective way to do this. And then what you want to do is practice breaking down different popular surfaces. So when you see a really cool wood texture, taking the time to break it down and then re painting it and doing that with anything that you think might be important into your paintwork on, then obviously from here say we want some variation here like this is just too pinkish purple or whatever the problem might be for what we're after, we can use our sliders to adjust that. So I'm just going to hear, you know, like total correction hue, saturation, luminosity. You can play around thes sliders like this, get all sorts of neat little variation. You can combine these. So, for instance, you might need two of these colors that you see. So let's try that. Let's take most picturing something like this little more red. Something bad. Okay? And then we'll duplicate this. We'll do it again. It was just converted. This a different color that looks appealing to that. No. You can actually use color wheels and things like that to know which colors are complementary and things like that. But I will just do something like this, and then I'll take the erasure of the big soft brush. Blend these two together in a sense, so just, you know, just experimentation. Just trying things and seeing if it looks better. Mary doesn't. It looks worse, but you just kind of try it out and see we get try to always remember that a lot of times you're gonna want to be subtle. Tried some subtleties in it. Maybe you see that and you go, Well, that looks cool. But then I really need this stronger light source over to this side. So you combine them back together like transparent pixels already locked, and then you take maybe a let's try a brighter, you know, schools on like this set this to that's our racer. That's why would set that to highlight. Remember, you can leave these specific brushes, too. You're more popular choices for this stuff that you don't have to go back and switch it as much. That's actually I have one that says Highlight when this is shadow so that I can add that light source a little bit stronger here and then right there and then hopefully you see, it just starts to really enrich it. But the beauty of it is, I don't have to worry about all that texture. All that work is still being utilized is still effective. Eso that's it on this portion of the lessons. Let's stop here and we'll head over to the next lesson and talk a little bit more about digital art. So with that, let's move on 21. L19 Sketching Our Rock Formation: Okay, so now we're back to the iPad pro and apple pencil. And what I want to do here is to do a quick practice activity with the aware we paint a rock formation. So this is Ah, good one to really make you think about playing changes, lighting things of that nature. So what we're gonna do is first hit the plus icon here, and we're gonna create a square document at this place. I counted top right. Notice that you can designate inches pixel data. Forgive my screen protective Pretty beat up here, but I do recommend you have one. It makes the dry experience better. But you still little imperfections when you don't put it on right, unfortunately, and the abuse from my hands wiping over quite a bit. Eso pixel data 2048. You to punch that in right here. It was already kind of great in there. The beauty of this that shows you the amount of layers that you can utilize here. Uh, so that's just fantastic, because it if you want to really play around with using more pixel data for a larger canvas , you could do that. But you want to pay attention to how this number drops based upon that. Like, for instance, if I change the DP itis 600 I imagine it will affect everything else. Are you know what? I'm sorry that the pixel data outweighs that. So let's do this. Let's bump this up to 5000 by 5000. Yeah, look out. Dropped all the way down to 17. So pretty significant. It's just good to be aware of things like that or at least pay attention to him. So 2048. 2048 that should be adequate for the study were doing and create. Okay, so now what we're gonna do is first draw out our rock information. So let's do this is to a two finger pinch inward to zoom back, two finger, pinch outward to zoom in. So just kind of play around that you can rotate it and all that fun stuff. You know, gesture controls are extremely effective in the set up on DATs. What really separates this particular device from the other ones we've talked about is the touch controls and the gesture. Now they do have sent peaks that have allow that fancy stuff. But, um, you know, for the price difference, I would say this one's more effective and more functional. You know, in an Anisette. Can't even really a test that since I haven't used a synthetic version of a touch control, I just went off reviews that I've read. And it seemed like people were less than impressed by the overall touch features. And some people, at least once I read, actually preferred not to get that particular device. So But, you know, there's there's gonna be people all across the board. Some people are gonna love a certain technology, think it's amazing, and other people are just going to immediately dislike it just the way it is. So you have to make some of these decisions for yourself, but back to the drawing here, what we're gonna do is just to find something that gives us plenty of plain changes Now, obviously, with right information. Do you have some that surrounded some there, uh, you know, more sculpted, more angular, this particular one. We're gonna go for an angular version so that we can really play around with the painting process that I want to show you. And you can just, you know, chop into this and really think about big, flat, plain, flat areas. So, like France, If I drop in this big shaped like this, I could just work over and connect it to the rest of it. And that's really the the idea. So if I have a flat shape here, shape here, these are all those playing changes that will be able to bring out with paintwork. And that's really what I'm thinking about. If I run out of space and I need to scale this down, I can grab the selection tool can do a two finger pinch n word. I could like go of it. I could also take that and I can have it on uniform here, and I can grab the corners and resize it and move it. I can also have free form, and I could distort it by grabbing and holding the corners. And this is actually pretty effective for ah perspective drawing. You can also let go that you can undo and redo to figure out what what you want to basically settle upon, and then when you're done with it, just un select it and continue drawing So just like this, it's more than in there. Probably bring it down to about here and stop. The other thing I want to do is add a couple smaller Peace is it always tends to make it look more interesting if there's a couple smaller ones in front bit of size relationship going on there, remember, if you're trying to create scale, you would just put in something that the viewer knows the actual size of. So if you're doing this big rock formation or you wanted to look big, you put a little person right here or a car, something like that, and immediately this gonna look massive because by itself it doesn't really explain the scales. Generally, you can fit more detail into whatever your illustrating, and I'll make it sort of look bigger. But it's not until we have that scale relationship of something else that you really know for sure. It's just you know, the same reason why you can look at something very small in nature and be kind of confused by its, you know, its actual size. Like likewise, I could take this and I could put a soccer ball back here and all sudden one that's a circle. And then all of a sudden this becomes a lot smaller, so or it could be a son. And then again, this would look kind of massive, in a sense. So again, with this, it's it's getting this rough sketch into place. It's drawing freely now. One of the things that I think it's so great about this particular device in this way of drawing is that it just kind of works. You get the apple pencil with this. It's really a no brainer. A zai mentioned before you could get in here and adjust things like the pressure curve for drawing that's gonna be under preferences at it. Pressure curve. I like it where it's that now. But you can move this around. It's a busy a handle like this. I like it right about there since we're gonna leave it. But again, it just kind of works out of the gate, and that's what you're basically paying for. So now the other thing that I'll do a minute refine this more in a traditional art way. So I'm gonna take a big, soft airbrush and a race back just gently pressing against the canvas there. I remember before I did this with they a layer and I just bumped back the layer opacity. But this time I want to show you how it would draw this a little bit more traditionally. And so the part where I raced like that is a lot like I would use. They needed a racer when drawing on paper, and I'm just gonna get in here and refined these concepts a little bit more. I tend to. I like to have more liner when I go into my paintings, and a lot of painters can paint with just basic kind of blogging some paint on the canvas and then go into town. And although I do practice that and I do that sometimes it's generally things that are more simplistic for me that I can do that. I just tend to be more of a drawer, so I like to draw and put down lots of line work for reference points into a little bit more of a paint by number kind of approach. So something about the you know, the refinement of drawing process. This gives me a little bit more confidence when I'm paying so play around with variations of that. Now there's obviously some big time savings. If you're more confident with your paint process and you don't have to draw everything now there are some things that I purposely not draw like here. Is it probably good example? I will, unless it's gonna be inked comic style I will not draw. The Herald will draw the perimeter shapes and a flow in a direction to the hair. But then I generally paint hair differently. Then I would draw it. So there's really no point Teoh to combine the two. Not for the way that I do it anyways. So you can just getting some of these playing changes texture on the the rock formations as they go. If I press down harder, I get some nice line wait, even though I don't really need it as much for this, and I'm gonna paint a lot of the the feeling of no volume in space and all that, it's not gonna be based upon line weight like my comic art would be. Uh, no, I'm not like that little bottom piece. Now, the other thing is that when you do this, go back a couple here. You can really You could really use the selection tool at this point and jump right in and start painting. You don't really need the line work like of established here again unless it just makes you feel more confident. And what you're going to illustrate gives your cues. You know, again, it's a paint by number kind of approach. But the selection tool is so wild down in this particular software that I really could have just you ran around it with the selection tool. It's so easy to control. So what we're gonna do now as well stop here? I will move over, show you the selection tool in action on this, and we'll get some paint late in here and start working through the paint process. So with that, let's move on to our next lesson. 22. L20 Selection and Base Painting: Okay, so I want to show you this amazing selection tool. So I'm gonna go with layers. I'm gonna to finger tap on the layer, gonna slide over to bump back capacity like this, get real nice and light Something about their and I will create a new layer. Could be above or below. Doesn't really matter. And then there's a couple ways to do this. You could take a solid ink brush line, brush, whatever. It doesn't matter, and you could draw through this. So as long as you've got a nice enough edge on the brush itself, this is a quick way to get your selection as well. We could do something like that. I'm actually not going to do that in this particular example. Go back one right there. I'm gonna show you how cool this selection tools somebody's a free hand selection. You could zoom oppa's much as you need. And the beauty of the selection tool is it's really effective. You can mess up. It doesn't matter. Oftentimes I accidentally click off certain area you can undo and redo just like anything else. And you can pick up in reposition, so get the maximum kind of comfort for your hand position and just go through here. And since the Apple pencil is so accurate, it's really, like, kind of mentioned probably a couple times now. It's really the best selection tool I've found thus far. And since I really like using selections, this happens to be a personal favorite for me now. This is also pretty angular. I could just kind of tap around it. And just remember that if you're close up to something, even though it seems like tapping around, it wouldn't make the type of lines you want to get close enough. Tapping around it will look like even curves from a distance. Um, but again, you really don't need to do that here. I think it's so accurate, easy to use that. I just tend to draw around everything. Plus, the perimeter shape really doesn't have to be perfect anyways, cause there's lots of ways to edit it as you paint. So it's not a big deal. Regardless, you see, sometimes I accidentally no, that's kind of the drawback to touch right. It's like I accidentally maybe do this. You can disable certain things in the gesture, controls eso if you If you have that problem too much, you can actually disable your hand controls from Mom from working against the apple pencil . But I don't find it to be too awfully distracting. I just kind of get used to it, I guess. And then keep on moving. We had is doing quite a bit, but I think I notice it more now because I'm explaining the process. So there's that Get back to that starting point. Finished the selection. You notice it, graze out the rest of it. We could just pick a color. Doesn't really matter what I'm gonna go something like a blue gray, and then I'm just gonna drop that in. You see, I said, get these smaller rocks. So this, like this, but clicking the selection tool twice and then continue on with the smaller pieces. Draw to these real fast. If you just continue over, you don't have to start again. A za laws. It's selected toe. Add there. So each one of these is a shortcut to what you do next so you can remove from the selection , add the selection. But right now it's at the ad so I can just draw these smaller pieces, and then again paint the Seine, fill it in. Whatever you gotta do there, keep in mind. You can drag and drop into the fill selection as well, a bit quicker. And now the selectees. I'm going to drag this behind the liner and then I can to finger swipe over and that will give us a little checkerboard pattern there and then actually locks transparent pixels so I can't go outside of that confinement. And then I could just take a darker tone and you do this with anything, but I'm going to select the wrong paintbrush, and then I'm just gonna get in here and define basic plan changes. So, for instance, I could just get in here almost pick a larger brush would be a lot faster. So I get in here and just kind of block in some initial value shift, Um, and ultimately defined light source. So just by hitting some of these sides to the right information, so I'm gonna be a bit messy about it at first. Doesn't really matter, because again, there's a lot of opportunity to clean this up. A zai go. And so this is a really quick way to again. Practice playing changes. Think about light source and value on definitely something I recommend people practice young artists. Young, old doesn't really matter. Practices often It was just a very, very good exercise. You see, a simple is that even get small sides to these other formations that are kind of inset side by side, I guess. But you get a little bit of that transition taken skill the brush down, Get in there on the edges. A little bit like this makes it more interesting like that. Like this. It's kind of play around these concepts. You've been a little piece right there. And as you start to do this, if you feel like you know, I've got a lot of, you know overlaps as chiseled as I want. We're painting us on the existing layer for this part of it. Anyways, I don't recommend this all the way through for beginners, but, um, just depends on how you feel about it. Feel confident and go for it. But the other thing is, you can simply hold your finger over the other area. It will select the color, and then you can paint back chisel. These So you went too far over into another area. They didn't want that to occur. You could just paint back with that. And you can go back and forth as May times you need Teoh pretty quick process. So just like that, we've got initial start to our rock information. Let's go and stop here. We'll head over to the next lesson and adding a little bit of light source and continue to refine this. So with that, let's move on. 23. L21 Painting in Light and Shadow: Okay, so now we're gonna add in some more information. First off price should have done this already, but let's go on. Add a layer and let's click and hold. Drag it, blow this layer, let it go. Remember, it's gonna go below it, because if you click and hold on top of it, it'll create a group. So we don't want that. Let's go ahead and put in a little bit of background information. Just so we're now staring at a blank, bright white canvas behind this dragon dropped that, Uh, it's better for your eyes, they say. And it's better for color representation that you don't work against white. So now over top of this, I wanted to show you that you quickly due to finger hold, and it will select everything on that layer. So it's Ah, it's a quick way to define that area. Now. I haven't found selection tools in the way that I was showcasing him on inside of ah, clip studio paint where you can basically do selection layers, but a way to get around that essentially is just too either. Keep this intact with a solid layer, and you do the two finger hold or you can basically create, you know, yet another layer. Um, make it, ah, bright color, for instance. Pick the visibility off of that like that and same thing. You can utilize that as your, uh, selection layers. For instance, De select that selection title that off to fair hold Now. Obviously, this is redundant because we have one there. But as you start to paint, you might need that original silhouette, so just keep that in mind. That's just another way to kind of do it. And by painting green or whatever you can see visually, that that's a selection layer. So we really don't need that in this case. But I just want to show you that. So now let's add a layer over top, and with this we're just going to start painting in Another. Brighter lights were, so we'll sample what's here a little bit brighter like that. We'll grab our paintbrush and same thing. We'll just paint in some of the light source to make that first larger. Now this is a floating layer, so we can really you play around with some concepts here, like if we go too far over the other side of the paint work. It's not a big deal. We could just erase it back. We can also paint right to the very edge here, and we start to basically give ourselves on ability to let go of that original line work. Because remember, we didn't refine the line work toe where we were going to keep it. Um, So by painting this way and worrying about our edge is kind of tightening up the edges as we go, we can ultimate let go of that. That line work this just happened to naturally. Like the more you pay, the more it'll start toe, tighten up the line work. And, um, sometimes, though, you actually want to keep the line work, right? So you wanna play out that as well? But I want the top areas to be, Ah, a bit more in light. Now, actually, this is probably gonna receive a shadow, So probably erase this back a little bit, so I can use a big airbrush. And I can also build ingredients so sometimes it will overpaid something's. And then I can use that eraser. That big, soft airbrush has an eraser to again established radiance so bad. Like a little bit of this right here. But then again, I might erase some of that back this way and again. That's doable because we're on that floating layer and I can't even get a little bit These top services down here and just very lightly hit him because again, they're not, um, they're not very. They're not in the front there, Not with lights, you know, strongest. But a big part of doing this stuff is working on your ability to create subtlety, little transitions and shifts and what you're looking at now because this is over that shadow layer. I can also use this to paint some of the details in between that as well. Some of these divides in the cracks here, bits and pieces of this information. And what's there's enough paint on here. I can always re selected if I need Teoh so I can get that in there and then I could jump back to the other side. Now, I also feel like you got a little bit of the idea going for the plane changes. I need some texture and stuff like that, but But really, what I need is Ah, it's a bit of a shadow going around the entire object to bed. So what I'll do here is, uh, go ahead and add that right here. And let's just take a soft airbrush. I like to have one that's set to shadow, so I've renamed it. And what it is is this actually has under the blending mode, it's that the multiply so I can now take this and it will. It will shadow everything together. So, for instance, I have, uh, some color already on this layer. It will shake all of it together Now, he said, light source won't be as affected or affected at all. Really, because it's on a floating layer over top of this. I just want to get more the shadow on the side, and I also have to make sure that my the smaller rocks are and here is, well, good work right off this layer. It's like that. So generally, if you're trying to make something look larger, you're gonna shape from the bottom up. And like I said, I want there to be a darker shadow on the side, some purposely shading in a spiritual direction as well, like that. And so now I want to go back to the paint brush right here, and I want to continue to chisel out some of these. It's other shapes here. I just feel like this area right here looks a bit too plain. So I really think rock formations are fun to do and a great exercise again. To really think about these plain changes and develop these concepts in, Ah, it's it's always seems to be useful to have around as well. You never know when you'll need a cool rock information for your artwork. And that's probably the biggest thing about digital art. A swell is it. It's so easy to utilize the work repeatedly so you can save all this stuff out. It's floating layers on its not merge into the background. It becomes very easy to incorporate it into something else. So you recycle my art often. That's one of the big time savers of it. Okay, so I'm getting into blending now, so I want to stop here, head over to the next lesson. We're gonna have a little bit more texture, but we're gonna start to blend and pull it all together as well. So with that, let's head over to our next lesson 24. L22 Painting in Texture: Okay, so now we're going to add some more texture. We're gonna start blending, so the blending brush or you know the way you're gonna get tumors right here. I'm just using a flat brush and you could see if you take a look at it's pretty simple and there's a little bit of texture to it on, then the way that it kind of smudges the paint back and forth. You just get a little bit of, ah, biscuit artifacts, and that's really would you know, I like to think about these basic studies, like, if you notice if we take that line, are off of this, it's starting to read more independently now, not quite there, but it's getting close. But the other thing is, when you paint this stuff overlapping all these little strokes and these little artifacts become great texture on now for a rock formation would probably try to really capitalize on that right. So we get into using our paintbrushes and I might get into the texture brushes. But there, you know, there's all sorts of great texture brushes that come with this, but what I want to show you is just really that you can create your own texture. Uh, and you kind of want to start, I think primitively and work into the more advanced stuff anyways, So you wanna just play around with the texture that you get by overlapping the strokes so again, still working off the shadow of layer. But I can just keep developing this texture by going over top of it, because there's a bit of translucency to this. Brush it. If I push down really hard, that's what I get. Um, and in some areas, I might want that, like maybe the top with lights hitting generally with light hits. More significantly, you'll get a shadow right by that light. So now what's happening here, too, is these are on separate layers. So for me to really make this work as I progress, I'll even need emerge these down, which is usually what I dio or, ah, let's stick and make this racer the same kind of brush, and I can get in here in a racist edge back and try to define that edge. But again, I really try to get it to a point where, yeah, I'm pretty confident with what I want to see, hear, and I merged together because then you get, ah, better ability. Teoh toe kind of sculpt the painting in a sense, or you can overpay. So you basically create a layover top. And even though it's a floating layer, use the same method of selecting what's there and painting back and forth. So let's continue on with the shadows and kind of texturizing this a little bit. Remember, if I wanna worry about adding any new shapes or anything like that, I just have to take off the ah lot transparency because other than that, I can't affect the very edge of it. And sometimes you just need to fix the ad. So if there's a weird a little bump in the pain that you didn't want, you have toe turn that off and actually don't even have to turn it off. In this software, you can just a race, but it's good to be aware of the fact if it's on or off as you're panting again, just kind of keep sculpting over this. I can scale the brush up and down it really scribble through this a bit to build in some of the texture that I might want to see now. Another thing I tend to try to do when I'm when I'm texturizing. What I'm trying to add in a bit of grit and information to this is really try to think randomly and try toe. Let go of the idea of just tracing any objects that are in front of me. Sometimes you just have to scribble. You have to just kind of let loose, and you remember that if it it doesn't work, you just get it out of there. Just either paint over it or use your massive amounts of undoes and reduced toe. Get it out of there and fix it again. Just kind of random izing and getting some texture in there, bearing levels of pressure as well. Every now and then, you want more of a hard edge. Again, the brush, larger and smaller, goes well, create more random ization are more randomized effects that way. Now you probably see where custom brushes are, what a lot of people were doing this senses. But again, I think that it's more important for beginners to practice doing it this way. Um, because it's just more things where brushes can be kind of confusing. So I'm trying to do a lot of this with basic brushes so that you understand the process a little more. And then when you get into custom brushes again, you know, you have a working knowledge of it, how to do it without the brushes because it could become a bit of a crutch as well. It's really the same process, just overlapping texture and looking for patterns. So, just like that, we've got some more texture in there. Could go on for days with just this process. But what I want to do now is actually merges together. I'm gonna take this click here, merge down, and then I'm gonna start to toggle off the line, work more and more as I get to the stage of the work. Sometimes we'll actually merge the Leinart into it and then just blend it because I'm gonna start blending and painting mawr into the whole layer so you can blend the line, work out lots of different ways to do that are you know, lots of artists blended in and some some pain over it. So, um, but we can do here is just start the smudges back and forth now. So you know, Let's do this. I will. I will go. And Murchison just to make it simpler, I'm gonna show you a way to do this. So if I was submerged in right now, I would actually ruin my perimeter edging. Okay, so I don't want to do that, but what I want to show you as you could do a two finger hold, you can invert the selection. You go to initial line work, make sure going to duplicate this first just to preserve it. And I'm on that layer with my selection. Inverted when a tap here and do a three finger swipe. And now you could see that the liner is only on the inside of the painting. So I haven't merged it in yet, But I've preserved the edging of the the paint work that I can drag this down my go tap once merge down. So everything is merged onto that one layer and I could start to over paint and kind of bring this all together. So it's going to stop here. We'll head over to the next lesson and finish this up 25. L23 Blending and Refining the Edges: Okay, so now we're gonna do a lot of blending some painting, but mainly everything's, you know, kind of put into place, and now we're just going to start smudging around and tightening up the work. So this is where I would, uh, kind of sculpt a little bit, like pushing in certain values and colors together because you can bring out the line. Now if you push on one side of the line, you're gonna sculpt and make that line more significant, right? The transition from light to dark right there. So there's there's some of that that you're gonna want. There's those little imperfections you're going to see and kind of, you know, but a flat edge. And then other times, you're gonna want to increase the brush size and kind of go through it so, you know, kind of smudge through it may be make more of, ah blended transition, or you could keep on with that. And if weaken mix this and get it to work, we'll see him pulling color down, blending that over. I am lightning it up basically, by just pulling that pain over and then I can pull this back over which is a lighter transition. Basically gave it like another plane change another like a basil almost. That's not what I'm after. I'm just trying to show you there's different ways to kind of do this. But really, what I want this stage of it is to just kind of blowing this all together. Change some of these transitions. But remember, you can you can pull color right through. And just on the way that you smudge this pain around, you could develop more details while tying it all together. Okay, so there's that See here. So if I want more blending, I can just make the brush larger. I compress really light at first. It's kind of test. It can also go against the grain about riken. Blend this way and see how I can get rid of those lines. But I can. I want to keep some of that, some really going with it a little bit more. I do want to get rid of the shape right there. It looks a bit strange, so there's parts of the work that you're definitely gonna wanna blend back a lot in other areas where you're just going to kind of shifted a little bit so that subtlety was talking about. It's all about, uh, yeah, subtleties. So you can kind of create these little bumps in there As I'm moving the pain around, Try to make sure that you, you know, you create variation with that as well, because if you go around the whole thing and they're all the same similar kind of size and shape, it starts to look a bit uninteresting. So you want you can say, I want to think about that? Are you making things? Look, um, you know, man made or nature made. So there's no nature. It's like a lot of randomized effects, not a whole lot of straight lines. You know, a lot of you'll see anger lines, but things generally have a little bit more air of interests and being perfectly straight. So, you know, just incorporating some of those imperfections into the work. Basically, So you say it cancels skillets, brush up and down, and I also don't want to work too small because that will cause me to hospital a lot of time in a small area and then scale back and realize it was for nothing. Or maybe not nothing, but it just could be a the thing that can waste a lot of time sometimes. So I'm also trying to get rid of some of this line work as well. Some trying to remember that as I approached each area that I need to also clean it up in a sense, tightening up on these ideas, and I'm also going to blend out that line work well, we exceed it. It's pretty easy at this point, almost. I don't want to say brainless, but it's a It's a lot more free flowing and easier to accomplish. All the all the heavy lifting has been done. If there's you any heavy lifting at all, I guess. But now the other thing is I could still sample from Herrick and I say, Well, you know, I'm not able to blend with what I have. I need some darker values so I can throw some of that in there as well. But with a blending, you can really just a little bit of paint in that area and then go right back to blending and pull it around the animal kind of smudge back and forth because I want there to be, um, some texture in there. Bring some of that over here as well. No, nothing you can do is say friends, that you want to really bring out this area, but you can't seem to drop in the pain and not mess up what's here or negatively impact the shape. Obviously, you can use your selection tool again. It's a really good selection tools that you can just kind of usually draw in or trace. In that shape, you could take your brush and just kind of block in some area. There you would have transitions you're looking for make good use of the selection. So as you're here, get in any texture you want anything you're looking for. And also remember that you can hold here. Bring back up this menu and you can invert the selection if you need Teoh. So right there invert. And then you could paint back the other way. I don't really want to do that, but I just want to show you that's an option. So make make good, use your selections. And so, just like thanks. He had defined a little bit more paint in that area. Um, actually, really don't even like it that much to see back. Yeah, I think I should use the soft airbrush. Let's do that again. I'm going forward again. And right here I'm grabbed the airbrush. Let's grab the shadow version. Skill this back. It was too dark, larger bump back the opacity there slightly shaved that in from the bottom up. Okay, it's a little better. And again I could select all these different areas like that. I think that's fine. Compression this in this way. You know, another thing is I might want to bring in some of the shadows. So, for instance, one of the areas it looks a bit office right here. Feels like this needs to have a shadow from this larger formation that's covering this area . As much as I wanted to define that with the light source, it just doesn't really read as well. Needs to be a little bit of a shadow there. We dropped that in de select, and that that looks a bit better. Now, I've got a weird artifact right here, so I'm gonna go back to blending. I'm just gonna blend that back. So again, that's kind of thing of looking for lines that don't make sense in the paintwork again. I can blend this over, and I can really define the edge, the edges. So if I pull that paint this way towards the edge, kind of, ah, cleans that up a bit and shapes like this. So notice that this just looks, you know, it doesn't look like it, but it matches, So I got to get that out of there. This May sketch lines are still very evident. Get those out of there. It's really it is a step and repeat process. At this point, you know, there's lots of other things I could really do with something like this. I could introduce a lot more color variation. Um, I could introduce a lot more texture. I could pull texture from real rocks and, uh, dropped that in here. There's all sorts of things you can do with this, but really, this is meant to help you get used to, like just practicing a simple Siris of tasks. So again, drawing something, figuring out the plane changes, developing some light source and then sculpting some edges. That's that's really all I really want to burden you with at this particular with this particular exercise because it's very easy to get caught up and just keep going and going and develop all these different ideas. But then, if you're not, if you don't understand them, that might be a waste. It might be. Might be confusing for it. Basically, it's very easy to get confused with Digital are just because there's so many options. There's so many things that you can accomplish. But in this case, we really just want to focus on the fundamentals. Eso pay attention to edge control the plane, change light and shadow and just really keep it simple so that we can refine it. You got to remember exercises like this are really important. It could seem a bit boring in basic, but the same rules of plain changes and edge control can even apply to painting a face. And then you just take a few steps further so we'll talk about that future lessons and just fill in these areas. Still looking for those those pencil sketches sketch lines. So now it's not always a good idea to merge the line, work into the the art like that. There's, ah, lots of reasons why it wouldn't want to do. Especially if you're going for a very clean look. It could be counterproductive. So just be aware that. But if there's something I feel like I'm gonna smudge around a lot, I'm gonna create more texture. I'm gonna do some more over painting than it doesn't bother me as much. Um, I also want to play around with adding and a little bit more shadows to some of these plain changes, and then we'll call it good on this one. It's like right here. Remember, I could just drop in, you know, with a solid brush. I can worry about just this line right here. So that really defined plane change. And then I can kind of stop there because I know once I get enough paint in this area, I could just smudge it around and bring it over. But some essentially developing that line that I want to see there. And then now I'm using this color to, ah, you know, to bring up the shadow. And if it's too much, I can just bring that lighter value down, and I can use that to paint back. So it's like an unlimited amount of pain, right? You don't need to put more paint on a canvas if the neighboring color is close to what you want. And I would continue to do that like certain areas like right here for like, it needs some over here as well Next to some of these cracks, maybe I want to bring out some of these details so I can put that a little bit of transition there as well. And, uh, you know, I pretty much just went in one direction with the dark at this point. But obviously, you can grab the light source and keep doing this as well. So we just continue on with this process against sculpting edges, adding in some Grady int kind of fades and so on and so forth. So really, what you can do now is practice looking and studying at things around you. So it could be everything from household appliances to a cool right texture or tree bark, or whatever you find around you be very observant of the world around. You try to recreate things like this, but again, first, pay attention to the plane changes, I'm gonna be added some additional lessons where we talk more in detail about various textures and also just how to create a number of effects. So this content will be ongoing. So I'm very excited. Teoh, Hear any feedback that you have what you would like to see covered in more detail? If you have any questions, make sure to let me hear him, and I will do my best. Teoh. Keep growing this content and making it mawr educational for you in a better resource. So I think you very much for tuning in and watching these lessons. More content is on the way. As always, keep drawn, keep him fun and by for now.