Digital Painting: Create A Digital Painting With A Traditional Look | Guy Wolek | Skillshare

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Digital Painting: Create A Digital Painting With A Traditional Look

teacher avatar Guy Wolek, Illustrator/Character Development Artist

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

7 Lessons (1h 6m)
    • 1. Introduction

    • 2. Clean and Contrast Your Sketch.

    • 3. Base Painting; It's All About The Base.

    • 4. Details; It's In The Details.

    • 5. Details; More Details.

    • 6. Here it Comes...The Big Finish.

    • 7. The Wrap Up and Brush info.

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About This Class


This class is good for anyone interested in digital painting. 

I show how I work to create digital illustrations that look as if they were painted by hand with a brush.

Working in Photoshop and bringing over 30 years illustration and 10 years of Digital painting 

experience to bare I cover the process i use to create digital paintings.

In this class I cover:
Scanning and cleaning up the sketch

my brushes
brush settings
how i work in layers

working with layer properties

tips to enhance the finalized painting

If you have taken my class Creative Illustrations: Create a One-of-a Kind Character

This is a nice follow up to take your cloud sketch through the paint process.

Thank you


Meet Your Teacher

Teacher Profile Image

Guy Wolek

Illustrator/Character Development Artist


I have worked as a freelance Illustrator since 1982. I enjoyed doing a variety of work from being a courtroom sketch artist and animation character development aristist, to illustrating corporate annual reports and children's books. 

I currently have illustrated books that are sold in Barnes and Noble and on Amazon.

See full profile

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1. Introduction: Welcome to Michalis. My name is Di Wallet. I'm an illustrator, and I am a digital painter. This class is I'm digital painting. I'm gonna take you through my whole process. I'm gonna take you from beginning. Can end from the sketch to do tight sketch to scanning it to cleaning it up on the digital painting. I'm gonna talk about how I use my layers, how I work in photo shop and some of the brushes that I use. I'm going to share those brushes with you at the end up the class, and you could actually get him as a free download. I'm gonna talk to you about some of the things that I do. Post production. When I'm all finished with the painting, there's a couple little things that I do from time to time That will add a little bit extra zing to the artwork. I hope you become a part of this class. I think there's some things here that would be very interesting for you. And I look forward to see you in class. Thank you. 2. Clean and Contrast Your Sketch.: this is cleanup and contrast. In the process, I go through to take a sketch and make it ready for painting. What I do is I scan it at 300 DP I. Then I'll go in. I'll double click on it until it says okay, and that creates it as a layer that can be duplicated and moved around. Then I will duplicate that layer. Then what I do is I create another blank layer, and I'll just duplicate that layer a few times. Those are the layers I'll paint on. I take one of those layers and I do a fill of white paint. And then what happens? There is. Then I saved. The original drawing is underneath that white layer, and then I have a drawing that I'm gonna mess around with. What I opened up is the levels. Unlike using levels again, this is personal preference. You could use curves if you want to, but I like to use levels than now. Mess around with the levels a little bit and see what works the best. Every drawing is a little bit different. What my goal is here is to get rid of any of the great tone that is picked up when you scan . It doesn't matter what kind of paper I try, or pencils or whatever. There's always something missing when you skin it. Either the line work will look a little dull or it'll pick up some sort of a great tone. If there's a lot of tooth in the paper, picks up a gray. So what I'll do here is, Ah, just go back and forth. I move these ah little handles up and down to try to find what works the best. My goal is to get rid of that gray and make the line as sharp as I can. Ah, and hold as much of the detail I planned for some of the detail. When I draw that is going to drop out. Some of the really light under drawing will drop out, but I'm looking toe. Hold that line and give me what I'm looking for again. I'm just going to take you through the You can just watch the process. It's personal preference. Whatever works for you. I do notice that if there is a great home left on the paper, when you multiply it and begin to paint under it. It will make your paint look dull because they'll be a gray over the top of it. Here, I'm just doing a little bit of maintenance where this was scanned a little crooked, So I'm going to go back in, and I'm going to free transform and just turn it So the ground is level with the with the ground. Here's where you take an eraser. I find a brush. Sometimes I'll use a harder brush. But I like the software because if there is any tone left, it doesn't show any kind of a sharp contrast with the tone again. You can, ah, mess Iran yourself with your own. How opaque you wanted to be that erase. Sometimes I'll make it lighter because then they can control it a little more. Now I'm going to move the artwork to the middle of the page. I free transform and reduce the size a little bit, and if you hit that little think that looks like links to a chain, it will constrain it so it stays the same. A Z, the original with and height. Then you can see him going around and you see where it is different from the background a little bit. I'm just cleaning it up. I do this on every sketch that I scan. I go through the same process that I'm converting, that we multiply layer and putting it at the top. Now you'll see a little bit of how this works. See when you draw under it, it's on a new layer, and it could be erased. The old, uh, opacity can be taken up or down if you want to look a little more transparent. I have no problems working with the layers. Um, I will use a bunch of layers for a drawing just because if I question anything or I want to ah, have a little more control over maybe having an under color show through kind of like a watercolor effect, I just throw it on a new layer. You could always compress your layers together. Ah, but I don't have a problem just using layers. It's easy and it's clean. And if there's a problem, you just throw the layer away and start over. I duplicated the line work because I thought maybe it would give me a little stronger line . Now I'm goingto levels again. And, uh, I'm just messing with the level. If you'll, you'll see what happens is you can take your line and you can control in the levels. You could bring out some darks and completely drop lines out. Sometimes I do this because what it will do is we just punch up that dark. You see, the darks are being kind of punched up a little bit, and, um, it really makes the drawing a little bit stronger. See, notice the couple little spots I want to take out, and that's pretty much my process. See you at class number two. 3. Base Painting; It's All About The Base.: Welcome to digital painting Part one. You'll see immediately that I have increased the canvas size. The grey area is the increased area. I use that part to keep reference. Uh, like in this one, I'm gonna have some sky pictures up there, some a picture of a snail and you'll see I went to the canvas and just increased it. Now you'll see this folder says reference, so you can look in the reference and see what I have. Now you see my two sketches right there. There's two layers and you'll see. In the previous video, I showed how white adjusted those. Now I'm just adding some more layers. I wanted a little bit more layers to paint him. What I'll do is I'll make one layer and then just duplicate it. This is the brush I'm using. It's part of your brush set that you get for free with this class. I love this brush. It looks like a natural painting brush, and a lot of times I will turn the opacity down on it a little bit and the flow. So what happens is it will give you different values throughout your painting, just putting a background in I was paint on a background of some kind. This is sped up two times, so it's not too fast, but it's not too slow words. You're gonna fall asleep during the video. - I want to clean up the edge here a little bit, but I didn't, uh that brush wasn't working so well. The brush that I'm using their as an eraser is going to be in your brush said as well. See, I changed the eraser to the same as my paintbrush. Just so there's a little more consistency. I just don't want it looking so square. Maybe a little too large, making it a little, uh, asymmetrical skin the way I painted in. It's just personal preference is just how I just paint until it looks. Writer feels right to me again. Using layers, you can always go back and change this layer out or human saturated. Just change it up. Make it different today. Love about using layers. I use a lot of layers and I'm going to paint. The snail may use a different brush to paint this. Now this brush is also in your brush set. - You notice the more I go over the areas with the brush. It's kind of like a natural brush where it makes it a little more opaque. I do like to have some of the background coming through, and then I can control how much I want to cover it or not. But it seems to tie the artwork in Ah, that everything fits together really well. The foreground, the background, and I'm gonna paint in the grass and I'm gonna go back in and take the green and used the eraser and try toe, blend it out a little bit. I'm try to keep that natural edge that the background created the background painting created and stay inside of that. - Never mind the little pop ups that show up at the bottom because I brought the brush a little farther off the page. Uh, and I went over a couple of the icons on the bottom on the dock. See, right now I'm painting in the shoe. I'm using that one brush and you kind of see how it looks like a real brush that when you paint it down, if you go over an area, it'll right away deep in it up a little bit again. I just build color. You know, I just would work like you. I try to do my best to work. Like I'm painting a natural painting I painted for many years as a traditional illustrator . And when I converted to digital, uh, it is just Hey, it's been a process, uh, getting the right brushes and things to give me the look that I want but still be able to work digital. It's just so much easier to work digital. Um, when I worked traditional, I had to always scan, uh, and sometimes I would have over sized pieces of art that had to have to be scanned and put into the into a digital format. Now I can work any size digitally, and it's just not a hassle. And with using a natural sketch, it still gives it that look that I like the, you know, the real traditional pencil sketch. Look, I've also experiment for years with different types of, uh, pencils and papers to try to find, uh, the right combination that feels right for me. I know everybody's different and everybody has their own, you know, preference. But for me, I found something that just works, and that's important. As an artist, you have to find what works for you. Not everybody is the same. I hope these videos will provide some little tricks and tips and how how I paint. But you need to make it your own. You know, do what you feel is right and follow after what you have in the inside of you to paint the look you want. If anybody ever has any questions for me, please feel free to post them. I'll be glad to answer any questions if I can. No, I'm painting a little bit more on the snails. That's that brush. When I paint, I paint with, like, three or four different brushes. Um, I use the one I'm currently using right here. I use the one that they put the backgrounds in, and I'll use one that looks kind of like an airbrush. And I will sometimes use one that is a really, ah, hard brush. Ah, it has. It's just a line like a marker like Ah, like a Sharpie. You know, it doesn't have any any softness at all. I'll use that sometimes for highlights. Sam's come back and just painting in some colors. Right At this stage, I'm just blocking all the colors and and stuff. I just want to get Ah, look at it, you know and say, Hey, I like these colors. You know, that's a good color for the pupil. You know, the grass looks good like that, you know, in just the general shapes of everything. Um, right now, that's all I'm concerned about getting right here if you'll notice. Even though this illustration is of Ah ah, foot. A shoe coming down upon a snail delivering mail. It could look, you could make it depressing looking. I chose to make it on the bright side. I wanted it to be bright and hopeful that this snail couldn't make it through this painting a little more into the shoe. You see, Really? What I'm doing is just feeling my way through the painting. You know, little by little, I'm always surprised when I paint because I don't have it all planned out. I have a general idea. I have something I see in my head. But as I put it down on paper, sometimes, uh, it's not the same. It surprises me. Sometimes I see things that come out. I'm like, Hey, I really like that. But I never saw that before. Those are the great surprises that come Now. You see, I have a new layer here that I created, and this layer is an overlay. It's called overlay. I use three different types of layers. Our, um, yeah, three different types of properties of layers. I use overlay, which is what I'm doing right now. I use normal. Well, this is normal now. I'm doing a normal layer, but I use overlay normal and multiply those air. The three layers I like to use multiplies transparent but makes things go darker. When you put that color down, it goes dark. Normal is just normal. Looks like normal paint. An overlay will give you a really vivid color when you paint on top of a color that you have and you paint another color on it in overlay. Sometimes it'll just make that layer just really pop and you'll see those are the three layers I like to use. I try to keep things real simple. Just a few brushes, a few different layer properties. I don't get real fancy, keep it real, simple and This is pretty much where I'm at right here, as far as I like my colors. Um I want to put a couple of stripes in the shell, and now I'm working in the normal layer property, and as we save it, we move on to part two. 4. Details; It's In The Details.: Welcome to digital painting Part two and let's get started. You can see that I have put everything we did in digital painting one into a group and so you can see everything that we had done in the previous video. There it is. Now I'm going to be working in three different layer properties. I'm going toe work in a overlay which is right now is gonna be an overlay change normal to overly and you'll see overlay will brightened things up. Watch when I paint it down. It's not just the color of the paint I'm using. It is the Now here. I'm gonna switch over brushes real quick to the one that's more like a watercolor brush and not the rough watercolor. The rough watercolor leaves the edges kind of kind of rough. So this is more of the smooth watercolor brush. And I'm just painting down, uh, in my overly layer and you can see that that green is a little bit brighter, as I painted in now was I paint. I usually will jump around a little bit. I will go to another layer right now, and I'm going to pay a little bit of the shell and I pick a color and I'm going to paint it in the normal layer property. You kind of see how that works. Now the brush is not bad opaque, and the flow is also down as well. I keep it about midway somewhere in there. So it keeps a kind of transparent I realized a long time ago. If you can keep it transparent and make small steps, you won't get lost in your painting. You can control where you're going and you ever have a painting Get lost on you. You have no idea where you're at. You're like, Oh, my gosh, I don't know what to do next. Well, if you keep it transparent and you keep the moves kind of controllable and just keep it under control, you always know where you're going. So right now, I'm just moving back and forth. Now you'll see that I'm going back to the the layer underneath, which is the overly and you'll see when I paint using the same color just painted on top. Watch what happens now. This is underneath some stuff that's already been painted on another layer. But because that other layers kind of transparent. You're going to see this color that's painted under it is going to start coming through. This is just my process. Not everybody has to work this way. It's whatever works for you. I just I will jump around when I paint and you'll see again here. I'm still net overlay layer. So what it kind of does is it adds like a brightness underneath something you've already painted. So it'll make that color on top come out a little bit more, You see, now this is normal. So it's pretty much the color that I pick is how it's gonna look. And, um because the opacity and the flow of the brush, which is like, great above thes sky on the left side there, uh, you can kind of control it. You'll see when I start to paint in some of the shadows and things that are working. Multiply because multiply keeps the painting transparent as well. You notice I refer back to the originals reference of the snail, and I'm starting to show, like where the light source is coming from and the highlights things like that again. If you keep it small, you can keep it under control. Now I have just a little idea where that light is coming from. This you'll notice I used the eyedropper quite a bit because what I can do is instead of creating a bring a new color, I just pick an existing color like what I just did there picked existing color of the snail's face and I go in. And if I wanted a hair lighter than I'll go in and just make it a little bit lighter if I want to go a little darker. But I'm not trying to find new colors I'm building and things I already have in my picture . It just makes it less confusing. I think this simpler. We can keep things that were creative. We can be because we don't have to think so much about all the little essentials. You know, we just kind of go for it and say I want to make it just a little darker ankle Back in now everything here is being painted underneath the pencil sketch, but I don't ever lose my drawing at this point. You see, I'm using another color here, and I'm going to do work in multiply even though multiply will be dark. If you make it a dark purple, that glaze. We'll go over the top of the other stuff and it will have a It'll have a cool feel to it. You could see what I'm painting it in. It'll be a cool shadow if you want to go the other way. If you have a scene where you really want something warm in the shadows, you can go in and paint it with more of a reddish tone, and, uh, it will make it a little warmer. But then, when you do that just depends what you want to say if you want a lot of, like energy or danger. You know, sometimes the shadows with reds in them, uh, make it look that way, the overall feeling of what you're trying to get across. I think talking about painting and feeling might be a whole nother video. There's a lot to that that'll be another teaching. Maybe I'll do down the road, see now have another layer and then working on the I there just always keeping it in control. Never let it get out of control and make sure when when you do your painting that you're happy with your drawing, that you're going to do it on top of, because if there's any place that you don't like it, it'll always be there. If you don't like your drawing and you think what, I'm gonna fix it when I paint, um, painting like this with washes you you want, the drawing will show through, and you'll still not be happy. As you can see here, I'm working in a multiply layer, so it's making everything kind of darker. But it's keeping the, uh, the drawing, and some of the under paint is coming through. It's kind of defining, always just keeping on molding. You know, it's like molding it and shaping it. The great thing about working in a photo shop is that you can go back in and you can, uh, go to your history and you can delete a bunch of spread strokes, or you could totally take a layer out if you want. That's why I don't have problems working with many layers, because if I ever have ah, something that I'm not sure about doing, and I put it in and I think I don't like it. I can always no throw away the layer and just move on. - I wanted to keep this video here in real time because I didn't want to feel like I had to race through it and say a lot of stuff that could be a little bit confusing. Really. The six things you want to learn to digital paint? Well, that I feel that helps you to digital paint. Well, that anybody could do this is to, uh, no, you're layer properties. Normal multiplying overlay. Uh, understand how your brushes work and your opacity and flow, you know? So, you know, I would make things more transparent, less transparent, and it just comes with practice. And it's not that difficult once you get these things down and then to understand your brushes, uh, pick brushes that you like, I have certain ones that I like. I just like So that's the ones I used. And I don't use a lot of brushes when I paint. I use, um are the watercolor brush? I think this was only painted with maybe three different brushes. It's the water color, the rough watercolor looking brush. Those will be in your brush packet. And, um I used one. That's an airbrush, Uh, and I'll use that a lot of times to erase because it gives that real soft feel. Sometimes I'll use it to just soften up something that I've painted. You can also use the blend, uh, property or the smudge. But for me, whenever I use it, it seems to make the computer kind of lag a little bit. So I rather just take the airbrush and you race it out like that to make a nice soft edge. Now, you see, I'm working on top of the pencil sketch and then putting the highlight in the eye work on some of the letters. I don't usually go to the work on top of the pencil until the very end, or when, and feel like I'm comfortable with it, because when you work on top of the pencil, if you do it too much, you could lose your lines, your sketch lines, and then what? You start losing your sketch lines. You can lose, uh, where you're going, especially with the expressions and stuff, because if you start losing your sketch and you really like the expression that you have in your pencil, uh, you can change an expression from one thing toe another so easily, so I'm very careful about that. Now, you see, I use the eye dropper again. Pick a color beginning working underneath the sketch and put some color in the grass and you'll notice that this is being painted in a normal layer property. So that way, yeah, it's really standing out. Also, what I've done is I've increased my opacity and flow. When I went night, put the highlight in the eye and worked on the letters and you'll see now I go back to opacity and flow quite a bit, and sometimes I'll drop. It really lowers. Sometimes I'll bring it up. It just depends. Um, to give a hard and fast rule as to when and why you would do those things. Uh, it just depends on how you feel. I mean, if you want to keep things, keep it, make it a little more opaque, where it's gonna have a little more punch to it. When you're when you are finished, then you want to increase opacity and flow. If you want to, uh, keep a transparent and keep it soft. Um, then you want to keep the flow in the opacity down just at this point right here and again , working under the sketch. I'm I just wanted to get their grass brighter again. All this comes with doing it, and it comes with feel. You know, you have to understand how how it feels to you, um, doing these videos for painting. I'm not trying to create or to help people to be paint like I paint. I'm want to help people understand why I do the things I do to maybe help them to develop their own style and do paintings like they wanted to. You know, you might not like to use the different layer properties I use, but this is a jumping off point. Now you see, the brush I'm using here is the watercolor again. It's personal preference. I just like this brush. You see, when you paid it in what it looks like, here's a trick with this brush, if you put it down and then you'd lifted off the paper. If you lift your stylus off of your tablet or your, um, drawing pad what'll happen is it will act like a marker, and it will show another layer on top of it. But if you don't lift it up, it will not. It will stay that same. You can see it's happened here. I went over at one time. Then they lifted it up and I went over it again. And it's like giving me a couple of different, uh, transparent layers right on top of each other. It's like transparent on top of transparent. See, It's happening right there. Sometimes I don't like that, so I'll make sure I keep it down sometimes I don't really care. I think some of the cool things that are missed in digital painting are that everything is so perfectly done. It's just gets boring. Now you see, here we have the airbrush and really all I'm using it to do is to soften up that edge. I just didn't like it so hard like that, um, getting back to traditional and digital painting what I loved about the traditional painting and has taken me now quite a few years here to just find my place. And I hope that I can short cut it by this video for you guys, um is to have some of the natural things, you know, like the brush strokes or the You know, the things that don't aren't perfect. Um, it gets old when you're looking at a painting that's completely perfect. Go to a museum and look at paintings and you'll see if you get up close, you can see strokes and you can see marks. And I mean, even the even the masters are like that. I think that's what makes it interesting. And I say I went back in and I just created a new layer for the shoe because I wanted it darker, and I didn't want to paint on top of that of the one. I was just gonna leave that alone. Make a new layer. It's just so much easier just to make a new layer sometimes. Then, if you want to not have so many layers in your heart, you just group them together or merge down from one layer into the other. See, now I put those two layers together. Now they're one, and I went back to the other brush again because if you work too much with that airbrush, it's gonna look a little fuzzy. If that's what you want, that's fine, but I You know my style the way I work. I just want to get away from the the other brush. Just clean it up a little bit, - seem , because this is on its own layer. If I don't like how that painted in, I could always go back with my eraser and just affect one layer, not affect the ones underneath or the painting underneath. CME lowering the opacity and flow of the brush to just define the shoe a little bit. Some of the edges again. I'm still painting under the sketch on the top of it. This is a good way to see how are the brush works when it's normal, not multiply or overlay. See, it said it normal, so that color you can brush it down And you see, When I did it, I brushed it down. And then if I go over it again, it adds a little more. Dance a little more now. If that wasn't multiplied, the more times I go over the darker would get. If it was an overlay, the more times I go over it would almost like Brighton the color, but it wouldn't give like a like a real brush feel to it. And with that, we're going to end this video and move on to digital painting number three. 5. Details; More Details.: welcome to digital painting Part three. We're going to continue now, just detail ing and developing the painting and you'll notice that I put everything from part two into its own group and I'm starting toe work on some layers again. Just pay attention to the different layer properties that amusing. As I'm going through this painting, I'll pretty much follow the same principles that I used in painting. Digital painting to here is well, going from multiply and overlay in normal. Right now, I'm really just developing my shapes. Feel free to create new layers whenever you feel like you need one. How do you know when you're done? Uh, you just know, um, sometimes it's better to stop short, then to overwork something and to think about it too much when you first begin to feel like , Hey, this is looking like I wanted to look. It would be a good time to stop, walk away from it for a bit and then come back and look at it with a fresh eye. If you can walk away from it for the rest of the day and then come back the next day and take a look at it and just see what you think. Sometimes once you walk away from the picture and you come back to it, you see with a fresh eye, and it will be easier to make the decision on what you should do next or if you should do anything next. Another nice thing about painting digitally is that if you over pain that you can always take and go back into those layers and work and erase things out or change them or remove the layer completely. I'd like to take a moment here and talk about the tools that I use. I work in photo shop. I have photo shop five. I have a scent EQ 22 inch HD on an ear go Tron arm so I could move it around quite a bit. And, um, I have a Mac book pro because I will use it sometimes times when they go out of town and I could work, I could bring a ah walking tablet with me and they can work out of town. And, um, my Mac book has 16 gigs of Ram, and I think the processors 2.6 megahertz. I know it seems like a lot. Ah, but I figure I'll just grow into it. It seems that as programs get more advanced and complicated to takes more power to run. Um, so I planned ahead. Now back to the painting. I'm going to be working on some background and working on some clouds. Now you'll notice here when I'm going toe work in the background. What I did was I went back to the first group and I went to the very beginning of my layers and painting because I want to put all of this behind everything that I've painted. That's the great thing about layers is you can go back and you can paint underneath things you've already painted. You'll notice I'm right on top of, ah, the white background here just about There's a blue, the blue sky and now I'm putting these clouds in, but I don't want it to interfere with the snail or the shoe. So I went back to the very beginning, the very bottom layers underneath. Everything also because I have no idea how these clouds are going to go. I'm trying out some different clouds on the layer, an individual layer so I can experiment with some different shapes of clouds or how I want to paint the clouds in. That's the nice thing about working with layers. You can just try things over and over until you find what you like. Now notice. I'm using that watercolor brush and in putting some clouds in. And I'm using the opacity on the layer itself to kind of push him back a little bit if I want to and have it not be a strong also with these clouds because they're white. They're kind of kind of connect with the with the page outside of the spot illustration. I kind of like doing that from time to time because it makes the like an interplay between the paper that it's on or the background that it's on in the actual spot illustration. We have these little parts that break into the art. Like you see, the clouds are gonna just come right off that background right off the page into the art again. You see, I used the airbrush, uh, as an eraser to erase softly erase parts of the painting, see something you could just build up your cloud very softly and progressively so until you get the desired look. I want him to be there, but I don't want to be too strong where their overwhelming what's in the foreground. I work like this often where I will work on the main characters and the things that are of the most interest first, and then I will go back and work on the background, because then I already know what the focal point is and how strong the front images are and what I want to, you know, enhance or, uh, where I want to put detail in the background. You don't want to have detail, always behind your some of the things that you really want to be the strongest, like you noticed the clouds. There are not where the eyeballs are there below that because, uh, the eyeballs have that contrast in them, and I don't want to take away from that at all. And I think if I would have put the clouds too high there, it would have taken away from the eyes. Also, things you add in the background could help with the composition in the flow off a piece of art that you're doing like you'll notice the flow of this art where when you look at it, your attention goes to the snail's face and his eyes. But then it follows that cloud angle up to the shoe and the shoe follows you around Back to the hell on the He'll lead you right back to the snail. And the snail flow leads right back to the eyeballs which lead back to the cloud goes around and it it creates a path for your I toe look, it just some things to be aware of when you paint in overall composition. Did I have that planned out beforehand? Nope. I just had the idea for the snail with his eyeballs and straining to get away. And as I work on it, I see. Hey, this could use something here. This could use something there that will help with composition or with impact, or with what I'm trying to say. Painting to me is a process. I don't have it all figured out. When I start as I work on it, it gets more and more developed, and I begin to see the picture. What I'm looking for. That's what I like about it. Also, I sped up this painting a little bit because I didn't mawr of the explaining in digital painting, too. And now I just am using the same procedure just over and over with the same type of brushes , in the same different layer. Properties in the the same opacity and flow off the brush, and it's pretty much the same process through the whole painting for me, and you'll see where I'm putting that white in front of the shell right there is bringing forward that shell off the background a little bit now as it gets closer to the end. A lot of what I'll do is I will even slow down Mawr and I will pause and look at it and just think about it and think what could what could benefit the picture? - See , I created a group and I placed the clouds in the group. I will group artwork from time to time. Now I am working on top of the pencil sketch because sometimes when I work on top of it, my purpose is to paint where I am going over the line instead of state under the line. I'm also painting in multiply, so it's keeping a bit transparent under it. The more closer I get to completing the painting Memoriam painting above or on top of the pencil sketch here. I'm just final details. What can bring that I out a little more. I really want a strong focus on those eyes and hopefully I'm expressing a bit of urgency and panic in them. You see how close up a little bit? That's another point I guess I could bring across is that I will not zoom in so much. I'll stay back away from the painting and not get too close to it too soon. The closer you get them, where tempted you are to detail. And I don't want to be getting too detailed too early. No saving it moving on. 6. Here it Comes...The Big Finish.: Welcome to digital painting Park. Four. 43 seconds of fun. I'm going to in this step just be crapping the image That means to just cut off the extra paper that I don't want and have the image centred where I want it on the page. And then I'm going to be saving it as a J peg. I will usually save this a couple different ways. One as the Photoshopped file with all of the layers. And then I do a save as as a J peg so I can flatten. It always saved the Photoshopped file because then I always have one with all of the layers in case everyone to go back and do something with it. I really loved this step. I tend to be a safe painter when it comes to color. I don't paint very brightly. I have a tendency to be kind of muted in my colors. So in this step, what I do is I will go to, uh, adjustments, and I will go to human saturate and then I'll mess around with these settings a little bit . Sometimes I'll do these over and over till I find just the right one and just the right look noticed that I can click on and off preview to see what I'm doing to the image. Mostly. Here. All I'm working with is thes saturation bar. I don't want to mess with the hue or the light or the dark. I just want to mess with saturation. Then I'll go back into a levels and what this allows me to do is to increase the kind interest, see how we sharpen that up. Brightened it up a lot there. I love this step. I think this really makes the artwork just come alive. Sometimes when I'm working. Uh, I'm not thinking like this. I'm thinking more just colors and shapes here. I have an opportunity after I finished the painting to go and just punch it up and just really make it just pop. So this is my final process. The artwork is now complete, and I'm happy with it and I'm going to save it. There we are. Wala snail mail 7. The Wrap Up and Brush info.: I just want to thank you for being part of this class. Make sure to watch for new classes coming out soon. Make sure to post any comments that you would have. Make sure that you post any questions. I'd be glad to answer any questions if I can and make sure to post your artwork. I love to see it. Look for me on Facebook. Twitter Instagram. My name is guy Wallich G u Y W O L E k. Don't forget to pick up those brushes at the location rape. Here. You'll see the address, and I look forward to seeing you again soon. Thank you.