Digital Illustration: Sketching Tips and Tricks for Digitizing your Creative Process | Sydney H. | Skillshare

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Digital Illustration: Sketching Tips and Tricks for Digitizing your Creative Process

teacher avatar Sydney H., Digital Illustrator

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

10 Lessons (57m)
    • 1. Introduction

    • 2. Useful Tools

    • 3. Warm-Ups

    • 4. Generate Ideas

    • 5. Gather Inspiration

    • 6. Creating Thumbnails

    • 7. Reference Time

    • 8. Creating And Refining

    • 9. Saving The Image

    • 10. Conclusion

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About This Class

For this class you will need a graphics tablet (or tablet with pen stylus)!

Are you curious about getting into digital illustration but don't where to start? Are you a seasoned artist wanting to streamline your workflow by completely digitizing your process? Whether you're a beginner or a pro, I can teach you some new tips and tricks. This is just the class for you!

In this class I will explain my process on how to transform a digital sketch into a refined line art ready for color. We will start by going over useful tools that make digital sketching easier, then we will dive into the ways that make the illustration process a lot smoother. We will explore new ways to generate ideas, create inspiration boards, take references, refine composition and safely edit your refined piece.

Enroll now and follow along to take your first step in the digital world!

PLEASE NOTE: In this class I will be using Adobe Photoshop during my process but most of these tips and tricks can be replicated in other digital painting programs.

Music Credits:

Snap Happy by Shane Ivers -

River Meditation by Jason Shaw -

Cute by Bensound -

Meet Your Teacher

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Sydney H.

Digital Illustrator



A freelance artist creating artwork that strives to engage and generate pieces that everyone can enjoy. I love exploring multiple fields of the art some of which is digital, traditional, design! I'm highly influenced by old illustrators (like J.C Leyendecker), anime, and video games.


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1. Introduction: high crime city, and I've been working as a digital artist for over five years now. When I began digital illustration, it was a very daunting task. I wasn't used all the tools I had at my disposal. Through several tutorial studying artwork from other artists and even switching between several digital programs, I finally began to understand how amazing digital illustrations actually is. The best part is that people are developing new techniques every day, so the possibilities of digital art is limitless. Over the years, I've picked up quite a bit of useful advice that helped my digital process becomes faster and more efficient. Whether you're just starting out digital illustration or you're just looking for a few tips and tricks, I'm sure you'll find this classes in this class. I will explain my process on how to transform a digital sketch into a refined line are ready for college. We will start by going over useful tools that make digital sketching easier. Then we will dive into ways that make the illustration process a lot smoother. We'll explore new ways to generate ideas, great inspiration boards, take references, refine composition and safely edit your refined piece just So, you know, in this class, I will be using Adobe Photoshopped during my process. But most of these tips and tricks can be replicated in other digital painting programs, which have a list in the description below. Having a graphics tablet is essential for his course. He completed smoothly and wrong now and along to take your first step into the digital world. 2. Useful Tools: some of the biggest pros. A digital versus traditional sketching is that it is completely paperless. If you started out drawing. Traditionally, you'll quickly find that some of your worst nightmares can be avoided. No more unexpected bleeding or mistakes you're wasting digitally no longer ruins your drawing surface compared to the traditional counterpart, which for me was one of my biggest pet peeves. You have limitless color options to choose from, and you can edit or modify your piece at any time. Digital sketching overall streamlines your process and allows you to reach your product much faster. If you're a beginner to digital illustration and chances are you've never used photo shop for drawing well, it's most commonly used for editing photos. I find that it's a really powerful tool for digital sketching as well. It could seem overwhelming at first. Since the interface is confusing, however, I'm gonna walk you through some of the essentials to get you started. The most common tools I've used through my process are undo layers, selection tools, copy, paste, transform and liquefy the end duba and is going to become your best friend and any digital process. Remember that line you accidentally maybe on your campus instead of the racing just hit, undo and it's gone. To use this tool, you can either use control Z controlled, see or use the menu by going to edit and undo. Unlike other digital painting programs that controls the shortcut, and Photoshopped will only undo one action. To get around this, get in the habit of using controlled see instead. This will undo as many actions that you allowed in your history. Most of the time, I end up using the history menu. If I want to undo a lot of steps, it's easier to just click one thing opposed to performing an action multiple times I sent to keep the history menu open, which you see here on the left side of my scream. If you don't have it on your interphase, go to the window menu up top and click history layers air, often going to be a tremendous asset to your process. They allow you to work on top or below a piece of your work while keeping both drawings completely separate and intact. By working with layers, you can move parts up your drawing and even change the opacity to make the layer partially transparent there, helpful when you want to clean up your line, work on a separate layer to make a new layer. Click on this square with the folded corner. This will automatically create a new layer above your current one. If you want to change the position of this layer, just drag it above or below the layers in the layer menu. Move the contents of the layer by clicking the move tool, which is the first icon in the toolbar. I like to use layers to keep previous drawing attempts, especially everyone. Edit or use them later. Selection tools can be extremely helpful. If you want to isolate parts of your drawing, you can draw or edit in this selection without the outside edges being touched. The most common selection tools that I use while drawing are the Marquis and Lasso tools. The marquee tool is the most basic selection tool in photo shop. You can choose between a rectangular circular or a column type Marquis option. Marquee tool is extremely living, so I don't end up using it too often. The last O Toole, however, allows you to draw out your selection without any shape restrictions. With this tool it you construct more of what you want, unlike the marquee tool. One thing you always have to double check with selection tools, especially using the lasso, is that you could have something selected without realizing it. Sometimes you don't always see it, since the last two accounts one pixel. As a selection, this could actually prevent you from continuing or drawing. To fix that use control. D Copy Paste goes hand in hand with the selection tools. Once you have something selected with either the Marquis or lasso tools, you can copy that selection with control, see or edit copy, then paste a selection with control P or edit pace. When you paste this election, it will create the selection as a new layer. One of my favorite tools to use during my process is the free transform tool. With this tool, you can quickly scale, rotate, stretch or warp a whole layer or selection. To use this tool, use control T or edit free transform. It's helpful when I'm trying to fix proportions without having to completely re draw something. It's good to keep in mind that modifying the drawing does affect the quality of the lines and can also be living. If you have Adobe photo Shop CS six or hard, you get an additional editing tool called liquefy liquefy to allows you to push and pull any area of your drawing. You're gonna just that brush, size and pressure through the menu on the side. This is also a powerful tool for proportions. If one eyes too small, you can use the liquefy tool to make it bigger with ease, just like the transformation tool. That liquefy tool also has its limits, which I will demonstrate both in a later lesson. Now, if you haven't noticed already, you'll see that I have this color wheel on the left side that is not something that is built into Photoshop. It is an Adam that I downloaded it online. Called Colors. This app is one of the best color wheel add ons I've seen For photo show. There are free ones that you can download two, but I feel like this one has a lot more options. The add on is only 14 99 but you can also try it out for 30 days if you're unsure if you will like it. If you feel like you're going to be using photo shopped for a majority of your work. I highly recommend that you invest in colors. This add on has several different color harmony options. Such a single color complements tri color square and analogous. Each harmony is fully customizable. Can take eight circle on the color wheel and drag it to the color that you want. Help you select colors that work together a lot faster, their color sliders below. If you want to change the colors a traditional way, you also have color mixers. I haven't played around with dysfunction too much, but it takes two colors and creates ingredient for you. I have Adobe Photo Shop, CS six. So this is what my color picker looks like. It's hard to find colors that you want with these sliders I have swatches to, but I don't like to use them either. Another, the color picker in the Dhobi Photoshopped Creative Cloud is much better, but I don't think it compares to the colors. Color will. In my opinion, some digital painting programs have a color wheel similar to this, so if you aren't using photo shop, I wouldn't worry about it too much. 3. Warm-Ups: Now we're going to start with some warm ups. Create a new document by going to file new. It doesn't matter what size you used for the warm ups, but I'm going to stick with the international paper a four, since it's a big enough canvas to drawn the brush and eraser tools are the two that you will be using to create your drawing. Both tools could be found in your toolbar with the icons of a brush an eraser. Photoshopped comes with a basic set of fresh tools you can choose from which you can access from the brush menu right here. You can also make the brush menu more accessible by having it off to the side by going toe window burst presets. The default brushes are usually perfect for sketching and basic digital painting, but if you're like me and prefer different brushes, you can download other brush packs online from other artists to create your own. For now, we will use the default brush is one of the things you want to do before you get started on your drawing is to do some warm ups. Doing warm ups helps you build muscle memory. You need for cleaner lines and shapes. I'll show you some standard warmups. I do before I get started. The 1st 1 I usually do is quick straight lines. It often helps to press down on your stylist and lift it a little while drawing. You don't want to draw so like this, because you'll notice here that there will be some shakiness and we don't want that. We want the lines to look more natural. To clear your campus. You can either use the eraser tool or the history panel to get rid of everything completely . The second warm up. I like to do our curvy lines, which are like this. It's also good to practice some swirls to you want to have these be continuous lines. Don't lift your stylus up any point. Another thing that we were going to draw is circles. The key to drawing circles is to keep drawing around in a circular motion. Try to stay on top of your original lines as much as possible and round out the shape so it looks more like a circle circles air excellent to draw as building blocks for other objects , like ahead or joint on your character. When you're drawing circles, try to draw them in different sizes as well. The larger the circle, the harder it is to draw. Over time, you will become more comfortable drawing them. You can also try drawing some squares, triangles and rectangles to if you wanted to square to be more refined, you can go to the eraser tool and erase the outside edges. You can also do this with triangles as well. The war loves aren't really about using the eraser. I just want to show you that is something you can dio. The next thing I'm going to show you is how to use pressure sensitivity on the tablet. Pressure sensitivity isn't as noticeable if you have a small brush size, so I'm going to work with a larger bar size so you can notice the difference easier. The curvy line and swirl exercise I did earlier work well with this technique. I tried to draw this line in a way that I would lessen the pressure on the left side, but on the right side I increased it to create a thicker line. It has a lot of depth to the line that I wouldn't have seen otherwise. The worst thing you could have a liner is a deadline. I would consider this a deadline because there is no pressure sensitivity. It's fine. You're drawing animation since you need that consistency. But because of how I draw my pieces, I love drawing with pressure sensitivity depending on the brush. When you try to light in the pressure on the stylist, there could be a student size change if you notice right here, there is a weird line with going on. It doesn't look natural. Good pressure sensitivity depends on how you're holding the stylist and how hard you're pressing it down, so it is important for you to practice frequently. One of the things I also want to talk about is the disconnect between the graphics tablet and the screen. If you have a tablet that plugs into your computer, you'll notice it a lot more than if you had a tablet PC or tablet monitor. It's one of those things where it's going to take time for you to get used to. If you have a graphics tablet that needs to be plugged in, the warmups help you get used to the disconnect. One thing that I did to help narrow that gap was to place my tablet directly in front of my keyboard instead of off to the side like a mouse. That way you have quick access to your keyboard shortcuts, which is essential for a smooth workflow if you plan on pursuing digital or as more than just a hobby than I highly recommend that you invest in a Talbot monitor or PC and completely gets rid of that disconnect, which makes digital painting much more natural. 4. Generate Ideas: or this lesson, I'm going to be talking about how I generate ideas for my illustrations. There are several ways you can gather inspiration. Some of the most common ways I have used to gain inspiration is through music, life events, social media or random generators. I then take these ideas and expand upon them. Using word association music helps create the mood for the piece you can take The emotion you feel when listening to it are even lyrics to you. There's a starting point. Life events and social media are always full of rich themes. You can even illustrate your own unique commentary. Bread and generators are an excellent starting point. If you have absolutely no idea what to draw the random generators, say I recommend to people is called Seventh Sanctum. This site has several different generator types and categories you can get ideas from. Once you click a category, it will generate a random list for you to use. Once you have your idea, you can jump straight into word association. I will be using a commission for one of my Twitter raffles for my drawing, even though the commissioner gave me an idea right off the bat. I still like to expand upon the idea and see how I can add my own unique twist to it. If the client gives you enough artistic freedom, you can go wild with your idea generation. I'm going to tell you a bit about what the commissioner wants me to draw and how I plan to go about it. One of the most important things to do when you're working for a client is to do research. Usually the client will give you a description of their character. In this case, the character I was asked to draw is from an online game called Blade and Soul. Since this character is created in a video game, I decided to look up on more about this character's class thes air, the reference images that the client gave me. I have a bit of an edge on the knowledge of this character since I've played the game before. But by looking at the official game page, I can see that this character is a blade master who has a sword and is capable of materializing swords at will. The fact that this character can use most will swords opens a window of opportunity for some beautiful movement and flow in my drawing. At this point, I'm already thinking of all the ways I can implement this idea, the more information you can collect on the character of the better your idea generation will ago. One of the ideas that my client gave me was to use black of blades for the actual drawing, which is this image right here. I went on going with the idea, since that is with a client wanted so to officially start generating ideas, you want to create a new document, then start writing down all your information on the canvas. I know that the character has a sword and can also materialize several swords at a time. I then link flock of blades. Since this is what the various swords air called jaw line, any time there is an association or a connection from an idea, I would usually start the word association with the overall theme and then branch out. But you see a year that I got ahead of myself and I'm now back peddling to write Blade Master. Another thing that the client spoke of was having dragons included from there I connect the idea of having it as an aura or making it the sort itself. They also saw their character as strong and confident. I'm also going to write variants on the block A please, just in case. I wanted to pursue different sword styles of the multiple blades after I put all the information in it can now start taking these boards and expand upon them to create more space. I'm going to use the transformation tools to scale this down. I'm going to write swirls and association to Aura. I'm also going to draw a connection between strong and swords because how she holds the swords will determine if she is strong, confident as well. During my thought process here, I wrote stance. I was taking off the various swords but then thought that maybe she could be in the air, which is where the post comes in. The most efficient way to create spontaneous board associations is not to feel to your process write down everything that pops in your head. One word that the client didn't uses experienced. If you're confident and strong when you are most likely experience is well, this feeling could be shown through how she holds a sword. I also have to take the flock of blades into consideration. How are these various swords going to be used? And how are they going to float throughout the piece? If I decided to put the dragons in there, how would they fit without it looking crowded? And then I have to go back and think, Is she going to be in the air? These air? A few important questions that I had to ask myself now, going through and starring all the ideas that I want to try and my thumbnails. A dragon idea is still questionable since I haven't fully deducted and how I'm going to go about it. Ah, huge possibility is maybe doing it by making a semi transparent or of the dragon or maybe having the dragons on the sword. Do I want multiple dragons? At this point, I wasn't sure, but it is something that I could think about when I was drawing my thumbnails. Since I don't have a mastery of swordsmanship, it's important for me to look this up when I get to the inspiration stage so I can create an accurate image even though I have drawn characters with swords before. I always have to look up inspiring images and references before I begin drawing thumbnails . The information that I'm writing in the word association can also be used ski words when I look up images later. 5. Gather Inspiration: Now that you have some words to work with from our previous lesson, it's time to to create an inspiration board. An inspiration board is anything that inspires you for your piece. It could be artwork from another artist characters, colors, objects or even photographs. Anything that will help you generate more ideas. Inspiration boards are important to have. You're going for a particular style to get started. Create a new document by going to file new. I like to keep the size of US paper 8.5 by 11 inches, just in case. I wanted to print this sheet out later. Now go to your favorite image searching site together images for your inspiration board. Make sure to keep all of your cures from the previous lesson in mind while looking for pictures. I'm going to use Google for this lesson, and from there I'm going to type the general idea of my illustration, which is Blade Master. You'll see that when I search Blade Master images from the video game pop up after you find an image that you want to add to your inspiration board right click on the picture and then go to copy image. Go back to your document and then go to edit, paste or control Be. You can then resize the image to any size that you want by using the free transform tool. Make sure you have shift held while doing this, or you might risk your image being skewed To prevent that picture from taking up too much room, I use the rectangular marquee tool to cut off the access. Select the air that you want to get rid off and then go to edit. Cut our control X. Then use the move tool to relocate your image. Now I'm looking at this one picture, and I really like the energy that is here. There's this dramatic diagonal and then this curve that turns towards the audience, but it still feels like it connects back around in a circle. I'm going to copy this month. Who's I really want to replicate that energy for my actual piece. This picture is another one that caught my eye. I like the light that is coming off the sword and how it swirls around the figure. It reminds me of the dragon idea I talked about from the previous lesson and about having it be transparent and almost like a light or around the character. This picture looks like it's an image from the official video game. I'm not as interested in the pose as a whole, but I'm more attracted to how she tilts her head and how elegant her arm looks. He's also have some interesting poses that I like at this moment. I'm more thinking about form than I am. Color usually don't think about color until I pick out a thumbnail. Some people like to think the other way around, but it could work either way. This is also another image from the video came. I like the idea that she is sheathing her sword, so I'm gonna take that image as well. The background and the color scheme was appealing to me here. The contrast. Really Hell's pop the character off the page. Another thing. I'm going to look up his dragons. Since I don't have much experience on drawing them, I really want to get the feel for how their form usually is. I don't want to get too many of these, since I'm still not sure if I want to go with the dragon idea it's still something. When I'm contemplating at this point, I could see that being in my piece very easily is very engaging. And there's a lot of depth. I like how the dragon circles around the skull. In this picture, I could see the dragon and my drawing doing something similar to that. If you ever start running out of a space, feel free to create a new document. If you still want to expand upon your inspiration board, the more you have to look at the better. You can always narrow them down later if you feel that you have too many. I really like this image not necessarily for the dragon, but for the atmosphere and background elements. They're attractive, and there are an easy way to add depth to the drawing. One of the things I really like to dio, even if it's just a character sketch, is to engage the viewer. This could easily be done with depth. For simple, I glance another thing. I'm going to look up his swordsmen concept, art, typing your subject in the concept are after it helps bring up a wire range of ideas and you have to see what other people are creating under the same theme. See, if anything inspires you, this one is awesome, since it gives me a whole mood to think about. Even the color scheme in the street form could be an interesting background piece. Another image that caught my eye was this environment concept part right here. It's very similar to the theme of the video game, and I plan to work with a more structured background. I would visit this as a reference. I like this image right here for the dramatic lighting and effects on the sword. It could be something I might attack for the swords. When I call it a drawing in a later stage, this one goes hand in hand with the other background. I really like this winter theme I'm finding. I wasn't originally going into this image with winter in mind, but I could see it working. Looking back at the character she has this Christmas, he looked to her so it could end up working. She looks like she could use a bit more clothing to be in Winter Wonderland, but this is where the artistic freedom would come in. You'll see here that this Inspiration Board focuses more on form and poses, while the other one is more based on mood colors and backgrounds. I really like the colors of this one. I've always been a big fan of the warm and cool color scheme, the poses and these air Nice as well. There's an arc of movement in them that I really enjoy. Even though this is more of my background board, I will put these here for the sake of room looking up concept art for your characters. Occupation could also be excellent research into how the characters would hold a sword or something similar. I tend to lean more towards looking up concept art just to get the initial idea, not the technicality. They tend to have a lot more emotion and more dynamic poses than you would usually see in real life. You would even look up poses for your inspiration board to I don't consider these references all the inspiration for oppose. Sometimes when you're looking at poses, you can Frankenstein in your mind what would work for your own illustration. Don't feel emitted to finding all of your inspiration right now. You can add another picture to your inspiration board at any time, as long as the images in a format that Photoshopped can read. All you have to do is pace the picture in the document to move or scale it to wherever you want. Once you finish your inspiration, board safe your Emirates, so you can either print it out or have the image up on another screen. 6. Creating Thumbnails: now that we have our idea an inspiration board, it's time to dive into thumbnails, create any document and make sure your resolution or D. P. I is at 300. For quality lines, it's better to have a higher DP. I just in case you want to scale the sketches up down the line, I usually like to stick to international paper a four as my illustration base. The bigger that canvas, the better. I highly recommend that you see if your drawings frequently so Photoshopped crashes. For whatever reason, you still have a lot of your progress. Create a new layer on top of your background and choose a color to start drawing. The first thing you were going to do is draw a blank thumbnail. You can quickly do this by holding shift while you draw your line. When you finish strong, your rectangle go to your layer right click and duplicate to make a serious of blank thumbnails. To merge the border layers together, right click on the layer and go to merge down or use control. E. What I like to do after that is luck it with this lock icon, so I don't accidentally draw on top of it. Creating several different thumbnails on your idea is important. Sometimes we can get locked into one idea without flexing our creative muscles and miss out on a more interesting composition. Since this happens to me often, I like to draw the first idea that pops into my head. So the design is drawn and I won't forget it later if I don't come up with something better when I'm drawing thumbnails, I feel like it is better to draw simple shapes rather than specific forms. That way, I don't feel attached or committed to complete a drawing. The first idea I had was of the flock of blades flying behind her as she pulls out her main sword. After I had finished my idea, I went in and analyzed it to see what I could expand upon for my next time. Now, when you think about composition, the first thing you want to think of is where do you want your viewer toe? Look, what do you want your focal point to be? In my case, I want my vocal point to be the face, so I had to find every way to bring the yours. I back around to the face. Take the rule of thirds into consideration when planning. This technique uses the points of intersection as the focal points are the points of tension. I loosely based my composition and planning off this idea. You'll see here that I have the head on one of these points, which works in my favor. If I plan to use this thumbnail, try to find her. Think of every way to bring the viewer's eye around the campus. Create a flow of movement with your shapes that leads your eyes back to your main focal point. Don't let the viewer get thrown off the campus and not have a way to get back. This can happen of all your elements force you off the page or is pointed in the same direction. That is why I like using curves that extend off the page. Instead, they give the viewer hand on where to look. Next, you can bring the viewer's eye around the campus by either direct or indirect movement. Direct movement is solid lines and forms that the I can follow. I like to do this with either clothing, hair crossed or even effects like dust and direct movement is the invisible or inquired lines that the I can follow. Examples like eyeglasses or body posture can be useful carriers. For this repeated elements, a rhythm can also unify API sous Well, don't be afraid to try different ratios with your thumbnails to you might find that they create a more interesting composition for your idea. Use color if you find it hard to distinguish shapes and your thumb now, once you've finished, all your thumbnails is time to pick out the ones that look best to you. Here are some points you should think about when choosing a thumb. Now, is there an obvious vocal point? Are your eyes always lead back to it? Does your I travel around the thumb now, or does it feel stuck in one area? Does the peace have a lot of energy? Are there spaces for the arrest? And last but not least, does it look interesting if you get stuck, get an outside opinion from a friend, make sure to ask them why and what they like about that thumb now compared to the others 7. Reference Time: after you pick out your thumb. Now you can then create references for your drawing. I inject going with the bottom left thumbnail for my final composition. There will be some changes as I translated into the final version, such as The Dragon Head and the posture of the character. It's important to have references to great anatomically correct figures. After you get used to drawing them will most likely get to the point where you can sketch the form without a reference, but I still like to use them, so I have something to look back on. There are two ways you can create references. First way is by taking a photo of yourself or a model in the post that you want. If you were going to go without route, it is best to take the photo with lighting in mind. You want to use clamp light to create dramatic lighting. Taking photos is a good way to ensure that you have the most practical and reliable reference. Some limitations I have found are that it is harder to create poses that are from a bird. I or weren't I've you and sometimes opposes can come off very stiff. But if you're like me and don't have access to a model or the proper equipment all the time , you can get away with using three D modelling programs for your references. I used this method more often than taking photos just for the mere fact of convenience and that I can prepare everything exactly how I want it to look. Depending on the program, it doesn't take much effort to set it up, either. If you have three D modelling programs you can use to set up, your illustrations are designed all clip studio paint, poser and blender. The one that I like to use is designed all. It's super easy to pose, morph or change any form off the model, and you can even take perspective shots with ease. The best part about it is that it has a free version, which will, pretty much to all of your needs. In this lesson, I'm going to use Design doll for my references. You'll see here that the model has several joints that you can move around. Each part of the body reacts to the moving joint, which is pretty cool to see, since the character I'm drawing has a sword. I'm going to use the import feature to bring in a free sword O B J file that I found online . Once you connect the object to a joint and resize it to meet your purposes, it will move along with a connected joint. Look at how the source days in the models hand when I moved around here. You'll see me more if the character so it fits my style more. There are so many more fighters that is highly customizable. Always be sure to rotate the model to make sure that the post can be performed in real life . You want the post to look natural, not awkward. Once you have your reference exactly how you want it, make sure to either screen shot or save the file as a two D image. If you have human made elements in your background like buildings, I highly recommend that you use Google sketch up. You can quickly make your shapes or even use their warehouse for free three D model references 8. Creating And Refining : After you gather both your thumbnail and your reference, you can start to sketch you're drawing, create a new document and set up the height and with toe whatever ratio fits your thumb. Now I still like to use a four is a good rule of thumb. I can always crop it later if I need to. Since my composition is in landscape format, I'm going to rotate the entire campus by going to image interpretation. 90 degrees C. W. I then copy pays my thumb now into my document and enlarge it to fill my campus. That way I have some basic guidelines and how I want my drawing toe look. I then lower the capacity of the thumb now and lock it so I don't accidentally draw on it. My reference will be up on my second screen, but if you don't have another screen, you can place your reference and another document and then drag the bar to the side and snap it into your interface. That way you have both your drawing and reference on the same screen. He recorded a new layer so I could begin drawing. If you plan on having background lines, make sure that you have a separate layer for the character in the background. This action allows you to move the character around the campus without ruining another part of the drawing. Trust me, it will save you a lot of headaches later on down the road, I'm going to start walking in some shapes for my character. I like to use my pen stylus to check angles, horizontal measurements and relationships between shapes of my figure reference. You can do this by holding Gerst us up to your reference at the angle you see, and they move between the reference and you're drawing. It helps to create an accurate figure. Sometimes when you draw from our reference and may look awkward when drawn, use your knowledge of anatomy and your best judgment to correct it. This problem was commonly occurs with figures in perspective. It's OK to exaggerate features as well reference images just a jumping off point. Don't forget that you can use your selecting transformation tools to help fix proportions to if you ever feel like something is proportionally off in your drawing, flip your canvas to find and fix the air. I constantly do this during my process. Just make sure everything is where it should be. Be certain you were also drawing on the correct layers. Well, it's very quick to make that mistake. You see capacity option to make the individual layers transparent. It's helpful when you want to work in the background and you still need to see the character without it getting in the way. Okay, after I finished, my rough sketch is time for me to refine the drawing. I created a new layer on top and lower the opacity of the others. I then begin to make clean lines. Don't be afraid of the lives. End up sketchy. You can always erase out the pieces that you don't want. - Okay . - Liquefy can also help fix proportion errors as perfect for stretching and shrinking a pre drawn area. Since look, if I can distort any line with transparency, I recommend that you draw the line or duplicate the layer to bring back its richness. The next thing I'm going to show you is how to mask out your character from the background elements without racing anything masking will be extremely helpful if you want to go back and color your drawing, I'm going to create a new layer and place it blow my character liner. Then go to the quick selection tool that is below the lasso tool and slightly outside parts of the drawing. After they were all selected, go to select, modify, expand by broadening the selection by one pixel. It tightens up the mask so it doesn't go outside the lines. Go back this left again and click on in verse. Now go to your paint pocket where the random color other than white and click on your character. Sometimes they will still be little artifacts or areas that shouldn't be filled in using eraser tool to clean up those edges. You'll now see that your character is completely masked out. Rinse and repeat for any other background elements you have. If you wanted to keep the white background a fast, they locked the color layer with the checkered square and layer panel and fill in those areas with white. And there we have it, a refined drawing that is old mast out and ready for color. 9. Saving The Image: If you don't want to color your drawing, I'm going to share with you how to properly save your file during our drawing process. We've saved it as Photoshopped steeple File Format PSD. Since you cannot be your image online in that format, you have to save it as something else. Most people use J. Peg, since it compresses the image into a small file size. But since it uses a lossy form compression, it content eerie a rate the picture and cause unnecessary noise in the drawing. I have a recommend saving your image and losses compression method like PNG or tip. Keep your image nice and clear. I only use J pic format when I'm asked to save it that way, He always want to save one copy in its original resolution for your files and then save the second copy. In the smaller size, you can change the image size by going to image image size. My drawings original size is 3637 by 2480. That size is too large to view in a Web browser. I like to reduce the largest measurement to around 2 2200 pixels. That way, it's retains most of its details, and it could be easily viewed in a Web browser. Once you get your image to the correct size goto file, save as and change the format either PNG or tiff. Repeat this process for your native drawing size as well as your well Persian. 10. Conclusion: Now that we have gone through all of the tools you can use for digital sketching, it is now time for you to create your own for your class project. I want you to create a refined drawing for either you or a friend that is ready for color and to upload your process. Your process should include your word association, inspiration, board thumbnails and references you used or created. I highly urge you to start posting your progress in the project section as soon as you begin and give feedback to your peers. Feel free to ask any questions you might have in the discussion below. Thank you for enrolling in my class, and I hope to see your project soon.