Digital Painting: Create an Awesome Adventure Character! | Robson Vieira | Skillshare

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Digital Painting: Create an Awesome Adventure Character!

teacher avatar Robson Vieira, Illustrator and Digital 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

17 Lessons (2h 18m)
    • 1. INTRO

    • 2. Equipment

    • 3. Mood Board

    • 4. Canvas Settings

    • 5. Sketching the Character

    • 6. Class Project

    • 7. Sketching the Clothes

    • 8. Sketching the Head

    • 9. Layering

    • 10. Photoshop Actions

    • 11. Cleaning Outlines

    • 12. Outlines Details

    • 13. Blocking Colours

    • 14. Applying Light and Shadow

    • 15. Colouring Outlines

    • 16. Final highlights

    • 17. Conclusion

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About This Class

In this course you will learn how to create an awesome Adventure Character using Photoshop. From Sketch to Final concept I will be sharing my best tips and techniques I’ve developed along the way.

You will learn how to:

  • Use a mood board to give you inspiration
  • Sketch the character and make it unique to your style.
  • Block colours, apply shadows and highlights and refine your outlines
  • Add details that will bring your character to a higher level.

Since I will be demonstrating how to build the character from sketch, this course is aimed at beginners and intermediate level students. The workflow demonstrated here can be applied to other painting software.


If you are ready to use your creativity, let’s get started!


Meet Your Teacher

Teacher Profile Image

Robson Vieira

Illustrator and Digital Artist


Robson Vieira is a professional Illustrator and Digital Artist living in Melbourne, Australia. He creates digital illustrations for different applications, such as children's books, characters, model sheets and mascots for companies and products, storyboards and concept art for music videos and animation projects.  He also loves teaching and sharing his skills and best tips with anyone who is passionate about art and illustration.

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1. INTRO: My name is Robert. Severe Disease Demonstrators in graft artist. In this course, you'll learn how to quit an awesome adventure character using Photoshopped from sketch to final concept, I'll be sharing my best tips and techniques I've developed along the way Induce course. You learn how to use a mood board to bring your inspiration. How do you sketch character and make it unique? Your style. Also how to blood collars, applied shadows and highlights. Refine your outlines and adds details that you're bringing your artwork to a higher level. Seems so be demonstrating how to be the character only sketch. This course is aimed at beginners and intermediate level students. Workflow demonstrated here can be applied jaw there, painting softer. If you feel you are ready to use your creativity, let's get it started. 2. Equipment: Yeah, yeah. Induce chapter. We are talking about equipment for discourse. You need a Mac or PC computer. I bet you're similar. Screen tablet With our favorite painting softer, I will be using an I Mac and interest for tablet and photo shop as my painting Softer. You are welcome to apply the principles off this class. You're there painting software, such a script, studio procreate and singular. Things will be drawing and meeting brushstrokes digitally. I strongly recommend a pen tablet or a screen tablet off some sort for this class. With that said, let's move to the next chapter. 3. Mood Board: Yeah. In this chapter, we are talking about mood. Bard's The Mood Board is a campus or file with image reference. Gather to assist sizing our projects. There are five key elements I consider in my mood. Barge First life your reference. Consider having really image reference from different angles. For instance, front, side and perspective ville to give us a more accurate idea off the form off the subject we are going to create. These images should be off decent quality so they can provide us with information in relation. Ship textures, colors indeed. House. The second point I will bring me to my mood board is inspiration. Many things inspire us a beautiful picture of nature, design elements and collars that are translator than in a mood or landscape. In this case, I'm inspired by these cultures. The curved design elements on the main off the lion really got my attention. The other cheer pictures. Next, reduce one. Give me a good solid reference to simplify the lion. They are very stylized and I like how it is solved. Third point close and assets close and assets helped to sell the role to the character belongs to, he gives us an idea about his occupation and also the type of personality he has. Clothes can be a simple or as complicated as we want, but the most important point is to focus in sending a clear message to the viewer. Details can always be added later. Four point style. I searched for illustrations with different media and rendering techniques. Essentially, I search for solutions artists found in some key areas off their art how they intelligently uses simple lines to add great value to their art. Fifth point is caller. The Mood board should give us color reference with different temperatures and moods that later will be translated to the project. With that being said, let's move to the next chapter. 4. Canvas Settings: Yeah, you just chapter. We're talking about kind of settings. I haven't opened fire here with me and I'll press comment E or control e open the image size pop up. You can see that my dimensions are pretty high in my resolution. Satchel 300 g p. I. If changes to 150 you look at the top there. He said that he drops from a salvage seven megabytes. True, 19 megabytes, but I prefer to work with 300 FBI. Since I consider my files to be printed, I recommend you to work with 300 db I. If you like to work with 150 that's just fine. As long as you do not forget to higher resolution again after days catch process There is nothing more frustrating than finishing a job and realizing that we have a low rest fire. That's why I recommend you to work with 300 FBI. Let's create a new fire by pressing equipment in or control in and feeling the sightings with the dimensions you see on this cream, you have a campus like mine. Next I go to the layer ballot and double click delayer trope in the layer style Banham. I select the color overlay option and click on the color Big option in the color peak menu , I select a light agree. That way the background won't be so bright to my eyes. I it's okay to accept there was options and I go chilled my layer Pano and click on that layer and rename its background BG. I create a new layer and name it Sketch Jesus, where we will be initiating our work. Let's talk about work space. I'm going to share with you my workspace settees. If you go to the upper menu and select window, arrange and he's crowed down to float in window or float all in windows in case we had multiple windows. You see that our we knows are floating, became Zuni and zone out trudges the size of the campus and the king dragged the covers around. That is very useful when we are using one canvas to draw our character, and we can keep it multiple files next to its trust sisters. We can always adjust, take emphasize by pressing C there. With the crop to selected, we go to the edges and drag it in words. So like their size and press enter to accept it in terms, off dimensions, you can see how the file size changed from that bear wise canvas to the crop. The one I'm going to use these dimensions you'll see on the screen. You're welcome to use a similar donations and resolution. Congratulations. We have finished this chapter. We are now ready to move to the next chapter. 5. Sketching the Character : you just have to be a growing chiles. Catch the character before we start sketch our character. I would like to say that the correct use and combination off simple shapes contribute to a strong foundation for any character. You will create the use of simple shapes, all always to block outs the different parts of a character while maintaining correct proportions. The first step. History start simple. Start with simple shapes. Used distortions search as squashing stretch to find more interesting, and I named Shapes points to sketch from distance. That way we can see the overall look of the character and I just proportions as we go. With all that said, Let's get it started having the cover sent as we saw in the previous chapter, I'm going to use the right brush, which is available for download. You may use your own brush if you like. Go choice, Catch layer and make sure it is selected. We want to start our project. INGE's layer here I started with a simple circle to frame the Carters head, then referring to my mood board. I identify from my life photo reference triangular shape in the lion's head, and I transferred to my drawing, referring to the mood boards to I see how the years from the sculpture photo have a simple base. At this stage, I'm not concerned about perfection. All I want is to have some ideas down and focus on proportions. Remember Step one, start symbol. Train yourself to see simple shapes behind the reference you're looking at for the main. I use a simple diamond shape, and I sketch a basic Arraf neck to give some idea of how they had connects to the chest. For the chest. I use a novel shape or squashed circle. Then I use a sort of a square shape for the torso. See how I pushed the bottom corner in to have a more die named shape? Even though I'm not drawing these shapes in the blocking s stage, I definitely consider and see then with my imagination wiling drawing, for example Jesus, what is behind the legs structure? I do use the mood aboard as a reference. I like the flow from the lag off that picture, and I try to capture it in my drawing. But it is only a reference I'm not copping it a beautiful thing about digital art is the powerful capacity to adjust and do and transform our work. I notice the character needs to be better positioned on the canvas, so I breast com NT or control T toe activated transform, too. Next I go to the corner off that box, press and hold shift while clicking on the corner and drag it anymore to adjust the size of the character holding shift locks. The proportions press enter to accept the action. Look what you know. If my legs I trace a straight line to give me a sense of ground and using the right foods as a reference, I trace an elliptical line. That way I can place my left foot. Using the same dimensions is a nice trick to help us place things directly. Third point. Refer to the mood board in Jack, very specific areas that again, a sister making design decisions in your own creation. Next, I begin with the shoulder. It is essentially a simple circle in a couple of square shapes. CD's line I trace in the media off the arm. I try to see play Kobe. Something's off action, Charlo. They leans to flow. Naturally, I imagine the bone underneath or inside these simple shapes, and that gives the better things off direction while I'm drawing using the same principles , I moved to the next arm and use the the razor toe short kids e to shape the hand batter. I find the character needs more contrast between the upper and lower parts of the body, so using their last so too sharp key now I click and drag the course around the character's upper area. For me, a selection this election close itself When the cursor reached the area. We start this election. Then I use their move to shortcut fee to move this election with that part of the drawing and press control. T or comment T to bring the transform, too. Holding command or control, I go to the corners to individually at just the angles. Once I'm happy with my transformations, I pressed enter to a sect the action, and then I press control de or commands D to de select. Then I press it be for brush to in continue sketching, so the overall look of the character is good. I decided to try some features and assets, but then I realize is it's not necessary. It is a state. So I just command Z it control Z. And for that day, I just make a very simple, uh, lying curve to give me a sense of how details should flow. They keep checking my proportions. Andi Now, I decided to move to the head, so I show sketching from distance. I try to capture domain elements from my mood board and here you see me, he raising, trying to organize a little bit of those lines that they were a bit Massey. But, um, yeah, I just seen the old girl structure for the eyes for days not, um and try to bring that the idea, the saints off off the lion. Now I go to some very specific features that I liked. Initially, we cheese those curves from the sculpture, um, for the main. And what you see here is really, like, just fruit of our inspiration. I haven't really blamed it, and I like the overall look of the main because it's looking like sunflower battles. So these are the type of process that they we should allow ourselves to, um, to go far. Meaning is not because we have a mood board that will be copying everything so we can always rely on our imagination, and that will bring very unexpected the results in good results. So later on, you just saw me increasing their breast size with those short cuts. So try to have the mind the shortcuts because they literally speed our workflow considerably and overall look of the character is it's good. I means a cartoon, um, further down, we can exaggerate some things. So here, the short cut again to increasing decrease of breast size, and the shortcuts become like natural excuse we don't have to think much about, then they just occur naturally on day will definitely speed our workflow and making this process of drawing digitally much more enjoyable. The character is looking, well, the fourth points I would check before finishing. He's the Sylhet. See if I have a very clean and readable silhouette and it seems so I can see the hands. They're not really in contact with any other part of the body, so that makes I strong seal. It is to be read by the viewers and your conclusion. Jizz process. Here review of the chapter we start with a few points to assist us. 0.1 starts with simple shapes. Point to refer to the mood board to assist us making design decisions. Points three just proportions as you go point for. Ensure your silhouette is easily read and here is a breakdown off the process. We began sketching the head of the character with a simple shape, and we found a diamond shape from the mood board in the years also were taken from the mood board. Then the main is a diamond shape, and the chest is a simple circle. The lower part of the torso is I square with papers, corners. Then we find the pelvis and legs and we move to the shoulder. Then we have to simply squares. We find the arm and we repeat the same process for the other arm. With a simple line, we find the tail. And as a fruits of natural, spontaneous inspiration, we find a nice and great solution for the main. Let's see how many had stole our country's trace, a novel around the area of the head of the character, then replicated across the entire character. In this case, I'm considering the top off the main off the lion and replicating the same over across the character. I have four heads. You may add an extra hand issue like try to create our character using 4 to 5 hats. In this case, if I considered the head of the character on Lee, then dis character street and 1/2 heads. I find that I work with these proportions. Help us to construct something more challenging. Please post your progress on the class project Gallon. I hope you have learned how to find simple shapes in your reference. Congratulations. We have finished this chapter. See you on the next video. 6. Class Project: Now it's time to put into practice water have learned from the previous chapter. I encourage you to go ahead and work on those points and anything to the Project Class gallery. If you don't feel like doing any work right now, then continue watching and enjoy the class. I look forward to seeing our progress by for now. 7. Sketching the Clothes: in just chapter were sketching the clothes. I begin by going to my layer ballot, selecting the sketch layer and dropping it. So, pastor, about 20%. Then I go to the bottom of the layer ballot. Select on the layer. I come to create a new layer, click on its name and rename it close. Then I go to the color picker and grab a blue collar. Just go to keep some good practice before going further with our project. The blue collar he's made to help us visualize you different layers. We chairs we have working with. So we are working at your friendly here named clothes and heavy and different collar diesel helps keeping defy organized. As you see there, I have my mood board next to me what is actually an access you see on the screen. I just have a projection of that window. Say PC as a reference, but the main point here he's I'm working, um, with the main structure off the of the government. Um, I'm not. You broke by two with details I'm sketching, which means that I miss thinking while I'm observing and trying to bring that information that I'm seeing next to me in my own style. Notice how I break it? A silhouette making the top of the garment wider than the bottom and their parents are also wider than the LAX. I try to convey the idea that there is flash inside the clothes. That is to say, I place an encore point on the place where the wrist were being compact with these leaf, and you can see that these leave He's much, um, wider than the body, then the army itself. So that is a knees away, a nice way off common vein on gravity to create the illusion that the fabric is hanging from that piece. And as I miss catching here, I put the mood board aside. Um, I find that sometimes having too many reference just blocking my imagination. Well, here you can see another best practice. They said that it would appear, is going to crash. So I just said, the fire continuous catching and exploring my imagination. And whenever I don't like something, I just and do that action with command ZR Control, Z and Jesus. A very nice process is a process of exploration experimentation, so there's no need for us to to be discouraged. We found mistakes that if you see that we are exploring it well, solutions that we weren't expecting initially may pop up and I encourage you to see the razor to from a different perspective. You can see here that I'm using the razor to shape to improve my my sketch. And and that's how I like to see the razor next 70 inch wide a graphic elements of the bottom of the garment. And I don't really have the mood board next me. But I remember heavy some nice design patterns that later I can refer to so like changing the structure of the garments. And that's the good thing about putting the mood border side. So you're not so calm. Find to to follow those you know, that design. You have a za reference. So I joined the board of the garment and lead up with some graph telling me today. Then I realized that at the hands Yeah, now, Jesus, taking just put it like some globes are, um um, Ben does your symphony type of detail there, and naturally, I started thinking terms of banners like It could have the government doesn't need to be one single piece of fabric that could be some stitches around. So I'm just exploring these ideas as a sketch, and I like how their attorney so So don't constrain your imagination, Larry flow to give stronger sense of design. I am going to use some elements from the hands, um, in the lower life, the way the viewers eyes are guided on, directed, and that gives up a stronger sense of design. So we have some common elements in the hands and in the lower leg. Then I feel this is the moment to refer to my mood bar to see those on graphic elements. I said before those curves be inspired me and right now is this is a sketch. I'm just marking ideas so he doesn't have to be perfect is just really, um, rough is just to have the idea there. Whatever. It's coming to your mind, your imagination try to try. The Noto are a graft note of it, and we can refine later. I feel I'm done with their garment, so I just decided to move forward and create a new layer for an asset, and I imagine, discard for having I stuff, so I create a new layer name. It's stuff. Then I go to the color picker and select a right caller so I can have it in a different color to assist me. I began sketching something, and I tried to have like that on organic nature. Imagine that Jesus stuff could have magical powers or something, and I flip it here with the shortcut you see there and you never do as I tried to feel times that wasn't happy. So I found a reference, something that works for me, and it's a reference I am not going to cop it so quickly. Bring that reference just dragging side by canvas. And I tried together many elements off that stuff. The among stuff and using the razor can shape things a little bit better, and I like how it is slowing. Next I get the lasso tool by pressing L. I close my selection impress V to move to their move to and the wily holding option or old I picked in drag to decide to duplicate that section. And with the shortcut on the scream, I flip it horizontally. I just send cleaning and realize that I need a pen toe to make it more perfect. So I press p and click on each corner to begin to greater selection. When I close it, I press ain't attractive ated selection and with the short cut on the screen, Koeman's shift I were control shift I I invert this election and I raised what I don't need . I press control D or committee to de select and I just adjust the character with the transform to I think they reach to the campus and finishing with this stuff. Once again, I create in your layer naming it had and I consider Jesus Stage finished. Well done. We have just finished sketching the clothes. We are ready to move to the next chapter. 8. Sketching the Head: in this chapter, we're going to sketch the head and refined the characters structure. I begin by creating a new layer. I'm naming it head. Also, I changed my brush collar to black. That way I have a clear differentiation between the layers and working with it's important to keep some best practices in name all our layers. Since you'll be building many layers, stroll this project having the layers named an organized. You help us to access, then a different stages off this project. As you can see here, I'm drawing on top of that reds catch and what I'm doing year. It's not only refining my lines, I'm transforming shapes into forms. So you see that all those shapes are now became more angular, and I'm giving more attention to those angles even in ages. Rough stage. I consider some details, but I haven't on the previous stage, For instance, their mouth believe here. You see that it's not present in the sketchy stage, so I take the time to find the right solution for it. You are seeing me sketching in, um, really speed, and what I do is I put them would board aside because I want my imagination to to flow. I think when we are drawing, we should feel comfortable on drawing, and that is how we allow ourselves to make decisions. So here I zooming and zoom out with command miners or control miners because I went to see the overall look of the character, and I start sketching the mane the lion, and you see how it's on an extra level of magic. You here because I think I had that idea there. Sunflower pathos for the mania mashes, and I make them even more curvy. So I like the results off there left side, and what I do is I trace a bottom line holding shift, and I dragged the the brush across to have that bottom line guide. So I know where each mass should go to, and I number them the way I know I have to have. I should have the same number of mashes on on each side, So I ended up. We found five mashes for the left and find a match for the right side and one in the middle of this six. Next, I begin to work on the beard to bring it to today style. We are working here, so I exaggerated a little bit using of, ah, squash some areas and really trying to bring a type of ah character to it, Like each element we are drawing here should belong to just design. And should Adler, um, some character risk surely hasten? Sure add value 20 year drawing. So even though you can see my first attempt here putting the eyes and the eyebrow there and they're not really working is allowed to see how how it's looking, then I am easily, quickly sketch, um, they had And yes, I don't like it. So I go back and I have to make better decisions. So I clean those areas in you guys and then outside that they had should be in larger That way. The viewer has, um, more contact with the lion's face is the moment is kind of everything's too crowd e. So I need to open to give Samaras, but like breeding errors so we can't reach those elements and give them and their proper, um, attention their proper space. So I hear me shifting between the razor to and brush toe you're raising not just seen things also using that that short Kurdish you know we have seen before and to increase and decrease that breast size, you're welcome to go back on the video and CDs short parents on your own time. Then I realized that I need to bring things further down. Imagine Discounter will be talking to the outings interacting, making different facial expressions. I need the eyebrows true to have enough space, so I push ever feeling down using the last two. It seems that things are looking a little bit better, but in with glasses too well, so see that I can, yes, open the face a bit more and now he's looking better. Now. The eyes are the main point of attention in the face, and we have enough area because they need to communicate very well with the audience. And now things are looking much better. My too much about her. I zoom out and I see that they had It needs to be adjusted, so I just press feed to change to my move to, and I just it where it should be placed. Now I am changing my mayor. I go to my clothes layer and I'm going to just pose of that arm. So So I just select with the lasso to impress common T or controlled tea tree activated terms from two. And I moved the people to point to the elbow just so I came here at the position I need. So I do the same for the wrist move that people points and just rotate and adapted. It's pretty straightforward and very handy technique. And here I'm going to repeat the same process again. I used my last So too no closed my selection press V to move to the move to and I move that part of the arm is close to the wrist. Presidents elect to de select this election which is command deer control d then a continuous catching we should brush to And I see that things are off. So I just you raise ever seen pressing e and quickly pressing beach change again to brush and I blocked the arm and that way I can go to my stuff layer control t on it, adjust it as I need. Hey changed her. I see that I needed more space part of campus, so I press see and I just the edges off crop to and he tainted train large my canvas. Then I go to my background layer and heat commands. Delete or control back space. You feel that canvas That way we have ah, light grey for background. Now it is becoming obvious why I moved down. I want the head of the character to be well read by the audience. So I moved there they stuff and the hands away from there had. And now here I go to the tail when continue sketching it on the clothes there. And I don't know how to see the final result. And I like it. It's looking good and we can consider Jesus. Stage finished. Congratulations. We have finished sketching the hat. I'll see you in the next video. 9. Layering: in this video we're talking about layering best Rex is to keep our files organized before we move to the next step. Jesus, Step you're going to see here is totally optional. I explained my canvas purely because I like to have a more area to give my strokes. It is the same as working on a bigger piece of paper, so I just pressed, see attractive a the crop to and then I enlarge it. I'd move my address to have this size I need then press enter to accept the action. Next I go to my background layer selected and breast command, delete or control backspace to feel the entire layer with a few caller. Next, I'm going to organize my layers. I select the bottom layer named this catch hold shift and click on the top layer named you had to select all the layers in between. Then I go to the top menu on the layer pallet, click on it and select the option Near group from layers. A pop up a window will come and I will name its catch and heat okay to create a group folder in just folder. We have all these catch layers weeding with that folder select, I go to their past menu and drop its opacity to about 20% to change their pass off all the layers at the same time. Then, with the sketch group folder selected, I click on their padlock icon to lock it that way. I don't draw accidentally on it. I select the background layer and do the same. Next I go to the bottom off the layer pallet. So, like the layer, I consecrate a new layer and I name It's Inc. These will be there, layer. We'll be creating our final out two lines. We'll do the same for my reference image. I create a group folder by clicking on the folder. I call had the ball off the layer pallet. Then I select the image dragging side and Amy two rafts. I also lock it to ensure I don't draw by mistake on it. And to finish, I'm going to add some colors to my group Folders. I just arrived. Click on the group folder. Just select some callers should help me to see waiter layers belong to that structure and Angie's way. We have our layers organized having Jesus stepped done in our layers organized. We are right to go to the next chapter I'll see on the next video. 10. Photoshop Actions: in these video, we are talking about photos, shock actions. Actions are a series of commands or functions recorded by the software that can be replayed with a single click of a button. Essentially, comments that I repeated multiple times during our creative process can be replayed by the softer with the use of actions. You demonstrate how I use actions in my drawer ways using Photoshopped. The same principle is applicable to any softer that I use. His actions, for instance, in Bangor Studio or Clip studio offers actions. I'll give you a simple demonstration. Let's start with a straight line and I make a curve on top of it. Then let's say I need to erase part of that structure or those curves and yet for sure, can get it done. But you see how I'm invading those lines. It's not perfect. I can get it done, but it is going to cost me time a much more effective way of working east to take advantage of the layering system. Secret. A new layer for days, straight line and a second layer for the curve. So in that layer I just make it your skirt here and now I can go to, Let's say I want to raise the straight line when it is intersecting, which some errors off those curves and I can just raise without have the preoccupation being so precise. So okay, so imagine. I'm happy with the result. I can select both flares by holy shift and breast Common e or control each emerged in. And if I press v my move to I came movies and see that everything has become a single piece and that's a much better way of working with players Now let's say I have to create a new layer and continue drawing and the same thing actually, racing parts, um, perfect. My drawing. Then I have to select my layers group then and great, uh, the next layer so I can draw on top of my act, work to president. What is underneath. So all just process is just repetition became safe time by using actions. Let's slow the action Spanish. We go to the upper manual window and select actions in the action. Spano. You see that some actions come with photo shop here, have some of my own to create an action. First of all, we have to create a folder. So we go to the bottom off the action. Spano and Selection. They folder, icon and name. It's in cleaning. Then he Tok to accept it. We're going to create our actions in size. There's folder, so we go to their layer icon and click on it. And this is actually in action and we a great you assign it a name new earlier, and we heat to record Now. Everything we do in photo shop is going to be recorded, so we want to create a new layer. I clicked on the layer icon off my layer ballots. A new layer is created. I go to my action Spano and he'd stop. Then I double click it to assign it a function. Let's say F spiv and shift is a short cut. So you figured, Let's That's our action. If I go to the action, just click hits play. You can see that a new layer screen. Now we're going to create a new action. We go to the action span on, and it's still like that. Nearly icon. True. Create a new action called Marriage Down the name of the actions they don't really matter they don't not affect. What we're doing is just to keep us organized, he to record. And now I saw, like the top layer on my layer ballot and on the layer menu I select emerged down that popular merge down with the bottom layer. Then next I create a new layer on my layers panel and I go to my action. Spano and he'd stop this. The recording has stopped. I'm adjusting my actions folder, just renaming it and now let's see what happens. So inside the inch cleaning actions folder, we have true steps. One is near layer and the 2nd 1 is merged down and new layer. So let's see how it works. I'm going to delete It is true previous layers. I go to my actions panel. I click on the new earlier action nearly is created and I'm going to create a single line. Then I hit play against greater new layer and then you layer, I'm going to create another life. So I come with my razor. A tool tree raise Samaras I don't need, then just is important. Having the popular selected I'm going to select this the second action and hit play. So now I have both layers merged down and then you layer created so I can continue drawing were not clean layer. I hope that makes sense. So in that clean layer I traced those lines And now I can go and raise them just to make things clear. So just tracing those vertical lines You're raising them. Then 18 merge to create a new layer and you see that I don't even need to select the top layer. As soon as you heated emerged down action, a new layer is created and you can start drawing on it. So just cleanings and bits and piece and we are done. These sex is a lot of time, believe me. Now let me show you how chill Oh, jeez. Action! It is available for no load. When your action panels go to the top menu, select load actions. Find it on your computer and each is right two years. Thank you for watching. We have completed this chapter. I'll see on the next video 11. Cleaning Outlines: in this chapter, I'm going to show you how I draw clean and sharp outlines for these video. I'll be using my own brush and I'll show you how to load it. Headed to your exercise fires available for Donald. Find their flight point rob job brush and double click on it. Then go for a shop having our brush tool selected. Go to the campus, right click on it, and your branch will be available at the bottom off your brush least okay. Having my breast selected, I begin by zooming in the face and I start with the nose and you can see that I'm using the , um, sketch underneath as, ah, reference the construction reference. But not necessarily I style reference for my outlines. So I am trying to have very expressive and spontaneous strokes, and that's how I'm imagining the style for this character. It is a station beauty, my outlines in one layer and just raising lines that are overlap. E Oh, I mean, it should get that parts dawning Anyone shot, which is good. Then I shift back to normal speech that you can see my real time speed and how I work. I loved the action spanner, and so, like the very first action and he to play. So I have a new layer created. Then I got the first mash the way I want. I refined those little edges for now and their goods. Then I clicked through the merged on layer. It's playing, and in that way you see that I have a new layer right to be used and then clear is preserved with the previous That's line. So here now and you can see I'm just going to the beauty, rotating the campus and trying to get things the way I want it still normally speed. So you can see that I take my time to draw things. And I beauty Jesus strokes gradually, especially at the beginning, when I'm getting the fuel for what I'm doing. And then there's a moment that I'm, um, the process flows naturally and almost like your Your hands warm up and they begin to obey or respond better. And and sometimes what we need is, uh, I used to think I start further. So, for instance, Oh, I'll just select um, having that layer. I just try to get things a little bit, you know, better again. And I run the actual indiscreet in you earlier and maybe just angle. I see that things are working much better. It is important to see the software, um, in the same way as we assess when we draw really rotates the cameras as if you were rotating on paper. I just press are to enable their rotation toe. And if you want you to leave that rotation, just press escape. And here, since that's the only line I had on that layer, I press control T truck, just that part of the mash. And here I am, speaking the video a little bit. So I just let you ah, watches for now, which is important to enjoy the process. And one of the factors we should take my time is because you you allow yourself to make decisions that we haven't considered before. So, for instance, you can see that the underneath sketch is almost like a reference. And now I'm polishing and perfecting things. But we don't without wanting to be too perfect, if that makes sense. So from the very early sketch or, you know, strokes we did here, um, in the face as you progress. You see that the entire piece is gaining some force in harmony and just look, can is looking good. So I'll go myself to, um, to see what the outcome is. I don't fight our struggle with a single stroke. I just let it come together, and there is no editing here, So I got, like you to see, um, really, how how this process works. And I hope you are enjoying seeing how I take my time to I'm concentrating on when they strokes that I'm going to do an axe and and e I like you see, like, you imagine that you are drawing as you see me drawing here. I think you would actually, um, enjoy senior stroke that is working Well, that is, you know, is is coming the way, the way you once Perhaps not not necessarily the way you thought, but the way you want in terms of quality. And that's what matters. So I definitely encourage you to to draw, to use off lines that are you feel welcome, comfortable and that you enjoy doing and that will naturally become your style. It is important to mention that Geez, brush we're using here, mimics Inc. I like the idea that you can vary the thickness off the brush by applying more pressure to your pain tablet. You can say that I'm a little bit peaky here in the sense that I'm just zooming out to sea for their if there are any gaps. And also I take the opportunity to correct that part here on the chain. And yes, I do something that I just, uh, overlooked in their previous stages. So just going back and you're raising there and continue whatever saying is Ah, it's important not to have any gaps because later these work we're doing here, we'll pay off. We can easily select areas without having any gaps. Better be much easier for us to select those areas in and do some calorie. And I continue using my actions during my final. You say how this process works well, like it can really get those very dynamic strokes in a separate layer. And then he raise what you don't need and preserve that work that is underneath. I find it very handed. I hope you just technique, um, works well for you and all my strokes I try to vary to like them. Angles are moments, for instance, with the paints that they're very smooth and then maybe for the toes they use more angular areas or square and regions, so I can create a top of contrast. So, like for the reason, have a nice a circular eyes leave and then a very straight lying on the top off the They are the top of these leave, because that's again and where the graft is hanging from. So the fabric is be stretched from the angle and then he's losing at the bottom. So I try to convey that team manky stays true, and again you can see that I close all gaps. If you re train ourselves to be, you know, diligent with it is a stage you save a lot of time later to make clear, um, by broken lines are gaps. I mean areas in which way we use the, um, magic selection toe and those areas. If the lines are open and r selection, you're just leak. So just, um, we'll be much more visible further down the process or in the next chapters when, when you will be doing some calorie. And here you see me trying their hands a few times to get it right. Okay. So easily and out to see what I'd should be doing. Ax and I go to the tail and I create a new layer for it because we'll be placing that there behind all away the layers of the character. So we're almost there. We've domain outline. Now. I'm focusing on the, um Samaras of the face and like, such as day eyes and nose and again, just the moment she'll make it more on dimensional to transform. What is Trudy? You know, more treaty aspect. So I tried to bring some death to it and apply some some type of form to those lines and is looking good. And here you see superfast 20 times faster than normal, normal speed. And what I'm doing is I'm trying to get the remain the centre or central Mashal demean the way I want and the resign putting it here is and I don't want to cut the trees because I don't want you to feel discouraged on our projects. When you when? When we cannot get the results, we want to right away. So it's important to enjoy what they're doing and always strive to do what you like. Because if we are sitting to do a piece of work for two hours, then do your best for two hours. And if you are drawing for 15 minutes, then do your best in those 15 minutes. So, um, I'm taking my time to To do the National came to show you my process and so important. Yes. Save the fire. Okay, you made it. Hope you have enjoyed your video. I'll see you on the next video where we will be adding more details to our outlines. See them. 12. Outlines Details: in this video, we will be adding details to the outlines. I begin by creation you earlier and naming it details these layers on top of our main in clear. Then I press tab key to hide my tools. And that way I have more space on the campus on my scream. I'm thinking here the interior allies with a thinner brush and they states, I'm making the brush, uh, wider the way we have a things of, ah, line of Irish within our work. So essentially what we want is to give enough graphical and variation trawler viewers the airlines that are outside the frame, the character there faker those makes their now world lines. And what is insight he's does not need to compete with the in terms of pickiness. Also, you can see that I'm making the states, um broader or stronger, or why there and the reason why is because they're the service, the focal point. It's like you said that actually, we drive the bureau's eyes towards the character, so it's important to have some points where we we reframe or we establish a degree of attention. So it's important to use doing and out to sea. We chair is what we should be added, more attention show. And for this, the stage I'm not using on actions. Everything is being incurred in a separate layer, which is very handy. I came easily. Just trace a line on, throw some ideas and and do ari raise. So, like now I just make a lie and get it right, and then I raise and preserve. They may each artwork. Then I go to my mood bar to check on some reference and sometimes their minds. That memory is not so reliable, so it's important to have some fresh reference. It's looking much better now. I can just adjust and try to bring those features, too, to my style, to my life. Then I go to the mood board again by going to their we know panel and at the bottom selected my ally in reference. And then I go back to O the file check once more, just looking at the eyes and seeing how I can solve it. You can see that the eyes I had there they have nothing to do with, uh, lion's eyes. So what I'll do is ah. Then I realized that the rial lion's eyes also won't be so so effective in communicating with the House years. We need a more like more connection with doubting, so I'm trying to humanize it a little bit, and I'm doing some tests to find the meat away. This is interesting and it seems that this is working, so it's like a little bit of both roads here. It seems to be working well. I'll keep it for now and hear me fixing the eyebrows. It's not because it is the final in. Could that wish we can't or shouldn't improve some things, so I preferred is how they are looking more again now, Not so pointy, and he suits Jesus style better. Then I used rotation, short cut screen rotation and I fixes their main. You can see that a some of them and they should be on top of one another and giving that sendings off flow hierarchy and just making sure things are looking consistent, that's all. Next, I organized my layers. Make sure I have there in clear details. Layer in a new layer for the stuff creating your layer name. It's stuff. That's where I'll be drawing my stuff, and I try to create strokes that are there long strokes that they connect and essentially trying to capture their in quality. And as long as everything is connected and closed and there are no gaps, then later can refine. Then I press control, teach you, activated it, transform to and right, click on it and select the war option and begin truck just those points on the edges, just to give a nice distortion to make it more organic. Next, I'm going to feel they stuff with a solid collar. I go to my layer maturity selected. Then I hit W key, too. So, like the magical 12 and clicking side a stuff artwork. Then I go to the top menu Select Select Scroll Down to modify and the Option Spain selection. I spend it by eight pixels. You can see the before and after, and I impressed command or control backspace to feel that selection with BAE back around collar. In my case, it is black. Now I go to the delay and drop their past you to make it a little beat, transparent and at the bottom off my layer pallet, I click on the icon of I square with the hole in the middle That is a mask, A sauce. You create a mask, you are already on it. So I just paint without black brush aerial off the hands that I would like to mask. And that way I'm not be raising my artwork. The mosque is their that work its presence to I'm just hiding it. I saved the file and I considered his chapter finished. I'll see you on the next video. 13. Blocking Colours: easier. I'm going to show you how to block the base. Callers of our character. Let's keep some best Brexit is and organize our layers. Click on their bottom, their names tail, hold, shift and click on the top one and press Command G or controlled G to create a layer group and name it outlines Before we start coloring. Our base layers were going to use Just Julius Inc and details Layer as a reference for our selection. So I select both off, then click fresh on the Inca layer, then pressing the whole shift and click on the details later. Now we've both selected your main release shift and click and drag those. Still, there is to the new layer icon. We have duplicated those layers. Go to the top menu in the layers palette and select emerge layers. Now we have the outlines in a single layer, and I can turn off my, um outlining folder group in. Just later, we were sisters. With our selection process, I go and create a new group folder and name it feel, and I dragged that EQ earlier. We have just created as a duplication on top of the field folder Oppress W Key. To select the Magic 12 and having the in clear selected, I begin to click and hold shift to add selection in the areas of the face. Also using the lasso to oppress L and I would shift to add more selection. Just continue with the lasso to as a some selection. You think that is good for now. I can doing here and see that our selection is very close. Should a stroke to the outline. So I go to the top menu select modify, expands. We're going to expand our selection because in that way, when we feel it's we've caller, the fear will be going behind. They stalk and that will make our artwork much sharper. Does this good for now? What I do is I may just add some extra extra pieces here you can also to, and I'm ready to chew. Angie's true and your layers. I go to the your folder creator new earlier inside and I breast command backspace or control back space to feel that selection and then control de to de select. Okay, so, Jesus, the process. You can see that there is a lot of reputation here so you can create an action to speed the workflow. So I go to the Blair's cell, active my finger and go to my actions panel. Click a new action, name it, expand selection, New layer feel that's what we're doing. So it like a record. We're going to expand our selection by going to the upper menu. Select, modify, expand, and we're going to use the same steps. So for peak, So this is good. Then I go to the feel folder. It is important to select the fearful that create a new layer in there and feel it with our background color, command shift, a liter control shit backspace. Then we can go to the action and stop recording. Okay, let's test our new action by selectable fingers holding shift. Then I go to my new action hit play, and a new layer is created with a field background color. Beautiful. I'll continue the process part of their hands and different parts of the body. So essentially what I'm doing is selecting similar areas, for instance, of both food that both pains are all fingers, and that way they all belong to the same layer. But I'm growing here, so I just group ever feed. That is really true. Finger and name it fingers and both foot. They become feet. You know, I'm going to change for the main, the few caller. So I've just changed the background color and pressing the short skirt joint screen. And that way I'm just creating to Finn collars for the background. So it is more suitable for us show to work with, I realize here that, um there should be a panel there, so I just go back to the ankle layer and trace of that. Ah, lying so I can have it for my selection. I duplicated those layers to make a new each copy layer, just as we did at the beginning of their chapter. And now, having that sorted, I want you to my selection and running my actions. So before running, actually just change the background caller. And that way I have ah, temporary caller. Just so we can, you know, have despots just panels or base layers working and later we can decide harmony of colors and it said Jesus more to established a structure of our fire, I begin to groups seem like collars that way, Uh, I have those panels grouped, and we're emerging a single layer. So here is this thing for the port appendage for the gloves. And yes, So we do what is necessary to to make things used to work with. So remember to your name and keep your files organized. And now here, I mean, checking for, um, some details a all right Gino's consider. And maybe now it's time to chew added in. So I create a new layer, and I mean placing those on details. Maybe it was wanting to see if there's some extra there is that I need. I always try to see how things are looking in relation to the character. So here I'm just trying to break the seal it a little bit and moving, moving those area till they break out from the Sylhet. That's much more interesting. And OK, now it's good to yeah, perfecting down on the hands troop and the way it is good for for a selection. So again, and great shoe, um, uses that layer as a base. So I replicated those in layers as we did before group then and send them out of the field folder. So that's the process. And I am continuing within those areas that later they will become a type of a gold or matter areas and for the day off that they will require a little bit of, ah, trick here because I know that at the tail is aimed to see tried to select him. There's no that. That dark line does not exist in the videos layer. So what I'm going to do is I go to my ankle layer and having the lasso to select. I select just that parts that I need and I press Koeman's Jr control J their way. I duplicated in place on Lee that area and since only that piece and now I'm going to merge that peace with it. They'll now if I try to, I just rename the layer again. And if I tried to sell acting size boom is not leaking anymore, so it is a simple trick, but it works very well. Then I just around the action and I have, um I feel for the tail and then I name its tail and put it behind the characters structure . So I just I'm going to create a full there cold tail end in that folder I have think and feel. And here I'm just organizing some barriers. For instance, the metal area off the tail. I mean, living it related to the tape. So what I did to us, I select it and press Come on, Jay, to get area and moving died inside and from the few fold urges President elites to eliminate it from there. So it's a lot of a lot of best practices here organizing layers. And now we're right. You moved to calorie justice. In this process, I go to window arrange show up Birch Co. And in that way my screen is divided into two. I have my mood board next to me and my drily So in the mood bar do what I do is I click on that fire and at the upper menu, I select flatten image. Now my file has being flattened menacingly image. I duplicate that layer and I go to future in select Excell eight Mosaic. Um, what you have is a pixelated version off my mood board and in great years, 21 square, um, for the filter. So now I have ah, color palette essentially to pick caller from okay, we can start coloring our base layers with the brush tool selected key be. I go to my color path present hold option or ought to trust for my brush to in and I dropped two. So the way I came to some color peaking Also great short thirties. Having the V two selected move toe Goacher canvas and right click on there you would like to select. You see a short least with the name of your layer selected so you can feel it without having to go to the layer. So let's try. I go to my the address of the characters like Select right click on it, and when I select, I just feel way too. With that, the background color, you see their short coach on your screen, so this is the process. I'm speaking the video here. I'm searching for more accurate collars, trying to make things a little bit warmer. So I use my mood board is a reference, but it's just a reference I have to just the hue if I make a little bit more vibrant according to what I'm imagining. Trying to transmit a specific type of mood. Maybe some elements of the mood part could be influencing my decision. So I'm getting closer here. I think the lion should have, like, a type of musical and aspect. So maybe purple. I'm trying to add a little bit of magical moods so purple with a little bit of Turyk wise. So I'm just playing here. So here I have to run the natural again because I need that part of this election, the nose to be separate. And I do this thing for on the eyebrows. So and I'm just going to my staff layer and refining the mask. So again, even for the mask, you see e get things done first. And then later I refined improve the selection. The mass selection I got enclosed Should ain't going to create some outlines for the stuff , and I sketch, then quickly, more or less, roughly because I want that type of organic feel to be added to it, I try to select the interior of the stuff with their magical 12 Then I realized that at the the Doctor, lines are not closed, so I just go to that layer and close it. No, I tried to select again and he w to move today. My Squanto, The upper menu Select Modify, expand. I just feel that collar in the right layer the way I have there. Stuff in a new layer field with that type of ah undulation. You know, some variation the shape. So what do I go to each layer and name it. So it's stuff Inc So just looking good. Um, no. I wrote for my would bar turn off the most like effect to go back to my canvas with that collar I got from their lands. I just doing some color, Pekka there and in the Fear folder, create any layer and I begin show trip, ain't that you see, that is not really the yellow. So I captured the color from their mood board on their lions I But then I have to bring it to to the reality of what I'm doing here. So colors also shoot, Follow a style. So it's just good for now or leave it as it is, just checking my layers before I conclude here. There's something perfectionism at best, either ankle air off the There are two lines on on the top folder. I clean it and I consider it done. I say the fire and congratulations. We have finished these video I'll see on the next chapter. 14. Applying Light and Shadow: in this video, we'll be adding in light and shadow char character. Okay, let's have a look at our layer structure. We have the tail feel an outline. I told her group I select then all by holding shift and press command G or controlled G to group them. And I name you two bays Should go to my chambers and right click on it having their moved to selected. You see that with the right click, the little least two were present to us. The structure that we're creating here. So the 1st 1 is based with some space meaning that this is a group and the next level is outlined All caps but annoy space. Meaning that is ah, subgroup. And we didn't they feel layer. You can see that we have had meaning that they had for layer. He's with Dean, the field group. So we can select either the whole group folder or D layer We deem that folder. Once you get used to it, that will save us a lot of time. I hope that makes sense. Why are we organizing the layers in Jesus way? Well, we're going to move to light and shadows and up to this point, what we have here on our campus is the base off their character. We have the outlines. We have different panels for on base collars, etcetera. Now it's time to group it and consider this chapter closed before moving to light, shadow and final highlights. That way, we you know where to find specific details. As we continue moving forward on our project, Richard duplicate our base full their group. Just click and drag that on top of the layer icon. That way we have, ah, perfect copy. And what I'm interested is in getting those outlined layers out of this folder that we're going have been as a reference for my selection. Once those layers are out of the folder, we came deleted the entire base layer group that has been caught. So that's what we have here to make it a visibility off my layer pop up. I just changed the outlines by going to my color picker, getting a type of a pink your magenta collar and using the shortcuts on they scream. You're feeling all that on outline with that background color. That way I can see my outlines in our more victory or effective clear way. I create a new group folder and I name it Shadows. Each is all caps and spaced. You cite that group folder a great junior layers. One is called Multiply, which will have our shadows, and the other is called Light, with the most vile air selected. I change explained most to multiply, and I'm going to use with my color picker and going to select the type of 50% gray, maybe still dark. So I lighting it a little bit, and that's it's good for our shadow. So now I go to my ankle earlier if they w he selected. I ate there to capture the selection and start painting my shadow on their multiply layer, and it is working some of those air. So here, just touching you, raising with the same brush, really. But he's they eat razor and making sure things are the way I what I'm imagining their light coming from the up left. So when life source and I dropped their pastor off the multiply layer to about, let's say, maybe 50 or 6% so 60% then I'm painting in a single layer with their multiply playing the mold and the benefit of having jeez type of shadows using a light gray. Almost 50% is because later only if you want to change the color of the character. It is very easy for us to my being there at their lights in the shadows, because they're not relying color picky, but but, uh, 50% gray, which blends very well with any color you have underneath. So here I did you like it manually, like some color peaking. And what A to fix it to go back to the Cinderella I was using before I went to my multiply later and change their blames about two. And Normal captured that space fifth grade, and once that, because it was captured, I change the blend most back to multiply into the same pastor lab, which was before I continue applying some shadows, considering the shadow should be cast, Um, from there thought left and continue painting on on a single there at that multiply layer, always referring to my ankle earlier with the magic, you 1 to 2 tried selections to the area and hear me. I'm drawing, really not only like placing shadows, try to make those shapes more volumetric. The the cartoonist is gaining form. And here just enough. My base layer. That way I have the Onley this election for their hands and I can concentrate on painting the shadows as I need. And here I mean, adding some details. I put it in normally speech so you can see how long I think two to do all of that, that we are expecting the video. So I just found that adding these little textures to the shadow. They make it their design much more interesting and and here I'm taking my time. I mean, the video is is being speed up quite a bit. Um but you can see that at just the same time, moralize that I took to get up to Jesus stage in the design of the character I'm taking Try the details so they seem to be like, straightforward. But then it takes time for us to figure out how to bring them about. And since I'm creating, they style the character on considering Ah, I specific language. So that's why it takes time now. I switched to my highlight layer and they're highlights. Layer is such to scream blamed mode. So what I do is I quit using the same brush, and I created his little lines to create a sense of highlights. And with the eat razor, I just you raise everything I don't need. And what I mean by that is that a Sometimes I will make some lines, and I'll just use the razor chewed to break that line or to perfect it to make it that line more interesting. So, for instance, here just creating that back light, um, highlight around the character that helps the character to pop, and it gives us things that there is a back light coming. - Then I have a mosque on my highlights later, and I can't just hide some parts. I don't need to destroy a marriage work. Then I switched back to today's shadow Um, layer and having that Russian, the 50% gray, I just paint some errors that I think would work well to represent them. Their rib cage there, um, the part of the torso and I essentially, I mean considering some little highlights here in there. So it's ah, people a rain. There really is. Just imagine that the light source is coming from the top left, as we mentioned then, I just imagine, like that very simple. One layer off light coming and the same processes using the shadow. I just viewed those at teeth on there from the light source to give some texture to it. Then I create in your layer where I'm going. Try some highlights on top of the lights, so it's searching that you're colored dodge planes mode and keeping things from the distance. What I do is I have this election off my character ready, but I I hide it by pressing command, hates or control hitch and show this election again. I just pressed Commander Control hate again. So if the color dodge the highlights get really are situated and the way I'm doing just highlight is yes, here and using some color peaking. So that is to say, like I picked the collar underneath the base collar and I added, True, um, to just layer it can't shadow inside the eyes behind the multiply layer their life, they are in the light and some Bryant dots the I in there, um, line highlights there, so I'm just switching between their multiply layer the screen lair and the color Dodger layer Ryan on me, working on the screen layer. And here I am testing Cem some ideas to represent for and every time I can't really get up a result. I give myself some time and I moved church. Different area. So here I go to the ice in, do some work there and zoom in and out to see what's happening and how the country is looking. Then I realized that actually should take their highlight from their life layer. So that way the peoples are more clear are you should be a rat and I decided to go back to um for and sometimes that that what it takes is not really a so straightforward process. He looks like scales. Then it's OK, Last, this batter and I find that with just simple lines. Doctor, the lines said the gives a nice characteristics to their to differ of the character and on the Dodge layer. Now caller Dodger layer. I'm just color peeking from that base that collar and adding some points of interest to guide the viewers eyes. I go back to their for layer, which is light and I draw old use for and which is looking good. So I called cedar. Jeez, he staged on. And just you finish here with a simple explanation. The attention to the highlights on the mane of the lion. So those simple yellow dots, they they create a circle around the face off their lion and he helps you framed the line so you can create It is point of attention using highlights using shadows, dark points. So, for instance, pay attention to these teach on the garment off the character. See how they helped to frame the character, how they bring the interest visual interest to the character. So these are things that we as as as we progress as we see how the character is looking, you could use off textures and other elements. But right now we are just playing with light and shadow. Congratulations. We have finished these video. I'll see you all the next video 15. Colouring Outlines: this video, we're coloring our outlines. Let's take a look at our stuff and you see that they're settled very little dark edges on the outlines. We're going to fix it by selecting the outline layer related. Use this stuff and pressing common shift the lead or control shift back space. You're feeling all pixels off the layer. We thought our background color, which is this nice green collar, and the result is a very clean match for our outlines. Nice time to work with our characters. Outline. So I go to the in clear our outlined layer and press and holds commander control over the Dublin area. Sugar. At this election, off the outlines and I press commander control hedge to hide them. Then I picked a dark caller from the main off the lion, drag it down and warm that up a little bit. So I have a darker tone and create a newly and name. It's colored ink, so just hide, um, by dark Inca later and the way I came paints without interference of those two layers. So it is as ever, feeling in my process. I passed a little bit and see how it is looking, um, is that many structure the overall look they see that is good but dark and a little bit more would be more visible to the viewers. And I think I'll try. Ah, a little bit darker show. But essentially that that's is the process is a process of ah, capturing the color you have and warming. It's a little bit so for the skin of their lion, I try a little bit of, ah, pink type of outline stroke. But then, okay, so it doesn't have to xylene and is allowed to see how they've your He's seeing you easily . You're really able to see it. So I see that at the faces getting lost there. So I, uh I'll change the color once more and now they I know that Just call her real poppin the face. We will have its own place and that may, um, its own place. And things are working harmoniously rather than fighting. So they're the main thing. Coloring inks is that Ah, Usually, when the outlines are like black, they seems that they are everything is a screaming for attention because the entire outlining is black. But when we call her then they they framed the character. They bring things to different Laval of death, for instance, we can say that they had here doesn't belong to the main. And the eyebrows have their own place and the eyes. So, um, things work harmoniously. They have their own structure and harmony, and I bring from the window menu the navigator we know just to see if I can read this character from distance and guys are working well, so maybe just touching basis there and making sure things are, um, and polished. And here differentiate what is Ah, highlights. Ah, lie versus a structure often objector or future life such as the nose player there, the one that I'm using hiding there selection. I pick a dark color for the purple. Then I have to see if that works. So maybe put a little bit, make it a little bit darker or more for a boy should they feel like And is it chase working ? So now I decided, How about you can't make it that like a turquoise inside? And then I was allowed to see that we had a little bit of the extra blue. When I zoom in and out is because I mean checking the how reliable on the collar is from distance. So then realize that the government itself the outline of the government is purple and the stitches inside or the panels there. So we use this type of, ah, turquoise color. So here is the entire process and Jesus like, but by no means justice. Mechanical, I'll be casting along the way. See if things weren't and my style is in a ways is going on finding the style. So, for instance, my next character may not be anything like this lion on DSO when I'm working on a project and by finally solutions in terms of shadows, highlight constructions, this style fracture, um, outlines and they ever feet. So I enjoying and learning and finding solutions. Yes. Obviously, if if my next character has to be part of these world, then I would consider similar and rendering techniques, um, proportions and and graph course styles for sure can continually with the beard. Sometimes you can see that at my my lines they run decide. What I do is I don't raise them. I just speak a very close collar, and that way I can just match what is in there and make a nice planes. So, for instance, that I get something from their beard and just blading. So it's nice. Um, like how those paints are coming along and for the fingers. Same thing. I get a mean structure working, then, yeah, whatever is overlapping there. I just work and refined. Later, they have to make some decisions. Would you leave there? Brandish? Running on top of the fingers are the fingers. I give priority to the fingers. I think they they should have more importance. They you help to frame the hands batter. That's what I think So he said, that coloring with views, outlines date while the they make the illustration much more gracious, much more harmonious, really, The you know, the lines are not a screaming for attention to be a part of the design. They the in haste, er, the work. Really it is amazing. Ever seen blamed singing so nice. So using now the same colors from the Haines to do the feet. That's the advantage of caller peaking. Your artwork becomes a canvas, and now I decided to go back to my shadow layer, multiply layer I just captured at 50% agree, and it's just there on my color ballot. You realize that the shadows shuttles me some adjustments, so I'll try to make to catch used a razor toe as ah no, she's a like if there was this copy and I'll try to follow there the structure off off some of those elements there suffices carving in here, and you have to to convey a better thanks of, Ah, shadow Comey. And it's a cartoon he doesn't should be perfect, but you have to be convince Izabal reliable, um, something that and really gives us the things that ah shadow is casting there. So I torture mundane things simple. But what we some will you that that off coolly style. The things in nine things have to work. And after look a harmonious, make sure you you get every single graphic and see that there's a gap. Me singer can fix that later, and now I decided to work with my eye, so I just go to the colored in layer and create a new layer called eyes. And I'm just painting quickly, trying to mask something for the ice, and it is working well, so I like this idea almost like something magic. So I used the short currencies see on the screen to Coppin Fleet. I don't want to see that. Yes, he's looking much better, and I turned on and off to sea before and after. So now I clean that layer and I begin again just time. I'm going to making the final version, so I do some. He's with the brush, and then I get there mental by pressing peak, and then I begin to click. To make up points, hold the click and drag tool bench, explained those corners like you're seeing on screen, and then I can slightly adjust, then by holding the keys you see on there video. So I click, hold and start. You click and drag trope in those and handles on a click while the key you see on the screen to Kurt it and have a shark tank. What, you're begging again? Then I press command or control painter attractive, ate my selection. I just feel that we've the background caller using their short, caricaturing screen. Then I go to select in the top senior and select transform selection holding. She to the corner, I drag e morte press, enter trust cept action. And with the M key having that selected came move this election. The impress relates to the late What I don't want inside and here is the same. I just used the pain too. Chu refining my selection Any size, the eyes, it ain't ultra cept it. And then I delete what I don't need any jesu and just layer I slayer. I'm painting every few on top, so I'm actually being a teen. The highlights and ever contro t to adjust and who's in the corners and dragging side to make it angle fits better. I raised what I don't need, and then I changed for the brush to and start painting and polishing the people's. So really, I'm I'm painting on top of everything that is being I created sold the eyes. Sometimes I that's what I do. I create a new layer just for the eyes and tried to sort everything that layer and he's looking good. So I like to these results, and I saved the fire and I considered use the step done. I look forward to seeing you on our next video 16. Final highlights: in these video we went some final highlights and textures. Please feel welcome triples Davia when needed. I took the time to see re chairs off. The character needed more attention. One of them is the eyelash here, so I'm using the bento. Charge us it. It's not the at their way. I want so I Andrew and I press and hold or or all to the corner churches that handles. And once I'm happy with your tie press, enter attractive Aita selection and I press command, shift, delete or control shift backspace to feel weight with the back around collar. Then I press beaches. Select my brush to and change, explained most Chilean air Dodge and I also create a new layer and change, explained most Chilena Dodge. That way I have a very bright layer on top of their eyes layer. I paint a little bit with the current brush to add some extra highlights, and with a very soft brush defaulting Photoshopped, I do some color peaking on the yellow areas off the I tries that extra glue. Then I changed my razor and select a sharp brush. The brush we are using available for dollars. I clean up the pupils. That way they pop up. I sent me an out to check my progress and I said, That is looking good and nice And I said that the eyes are much more captivating. Then I continue with the same brush, capturing the collar color, peaky and adding some highlights to help to guide of yours eyes. She'll make some areas pop ups, only friend in the car. And I correct some imperfections on their line as I go Next, I changed a blamed mode of the line. Chilean are Dutch. I select both layers holding shit. Impressed control, command, G each group and name ate ice. Then I decided to work with they stuff. I go to my canvas, right click on it and select the stuff we're going. Tried some glowing. In fact. Show it. I duplicate outline layer and I changed, explained most Chilena Dodge. Then I make a selection with their rectangular selection. Marquis toe press in and drag it around the stuff. That way I can apply a future on Lee to the selection. So I go to that Permian your fuel. Tobler, go simpler and apply. Go Simpler Future off about five or six pieces with this election is to I press command, see your control, Sitrick carpet and then I press command, shift TV or control Shift TV to pay fitting place on top of our current layer, and I change it to blame the Molcho Overly. If he's only in here, we can see some little marks over the hand of the character. We can fix it by using the selection from the previous mosque we have. I go to the mosque and present hold commander control over the tub name and activate the selection. Now, having our layer on top selected, I go to the bottom and click on Bill Mask Icon to create a mask, and those lines disappeared. Next. Captured the selection off their stuff layer by pressing commander control over that time, nail there and still with my layer top selected, we just statue of early. I begin Children some graphic elements, some ideas that could make that stuff more interesting. I hide this election by pressing Coleman Hey, age and I changed my brush. Blend more chili near Dodge. That way I can have an extra highlight effect, so I accept legal details and I'm working as a close, you see from distance. Then I increase that brush size to paint it all over this stuff. And I tried to do it without having any stop because in these blank mode, every time paint on top, we create a new layer like some extra mark. So I think my time to get it right. And I grant you that goes Ambler against. So I used this election toe the way I applied that blur only inside that selection I go to my outlined layer and I applied the blur just time with four pixels of intensity, just just soft in those edge. Now I'm going to adjust my chambers by pressing see the crop to and bring you those as just inside my press. InterTrust sent the action. Next, I'm going to feel my entire king of us by going to my background layer, impressing command, shift, delete or control shit backspace to feel all those empty areas stand tried some glow Julie stuff. I go to my staff layers select all the layers way today. Stuff Brooke then and named. Then stuff I create are top player such your soft light and using a soft brush defaulting photo shop. I begin to add some soft light. Now I'm going to concentrate on the ground, shadow off the character. I create an you later name it to ground shadow, and I also believe those stop in killers. I don't need them anymore. Then I expand my fuel layer group player and begin to select every single content within those layers by holding control and shift as I click on the Tamponnaise off those layers, and then we have the entire Syria it off the character. I feel the entire seal it with the background color and press control. T Comment E true activated, transform to squash it and move the middle handle to my right side. That way I can create a sense of perspective. I also just the corners by holding command mark untrue. And when I'm happy hitting too Max, I'm going to apply a future blur too soft in the national I'm using here about 20 pixels. Then I create a mask on that layer and drop their past up the lead to 4% and with the layer must select it. I use a soft brush, the falling for the shop and being told my mask. What is a black value will be heating and the waters off white failure will be shown. We can swap between foreground and background collar by pressing X. I just had what I don't need having the black collar selected, and I show what I need by pressing extra swapped white. That way I can quickly alter my mask. Now I check my layers to see if there are any details. I was electorate. I see that it's time. Tried those little textures. So I create a new layer and name its texture and using our brush, I'm going to create two parallel lines by holding shift and dragging the brush across. So just lines are guides for us to create those curves. I'm just showing you where the curve, sir, and begin to draw those graphical elements. I used the market toe and to create a selection and delete what I don't need, impressing control or comment t to adjust it. Texture, oppress inter, transept it with the and toe marquee selection, drag it around the texture. When I press features, start my move to and as I moved this election to decide on hold Shift human ting it aligned in the same line. So I will repeat the same process, selecting my key to and drag across the selection. Then press V for the move to drag it to the side while holding shift to ensure it is aligned with my texture. Then I control T and rotated and repeat the same process. This time I'm duplicating the layer, so I select both layers and press command or control. E and I bring a net extra piece of texture. Bring into the bottom of the character oppressed control T and right click on their transform toe to select the war option. And I just the handles should try to make the texture flow according to the characters Government and I go to my ankle a ER to select the bottom off. That garment captured the selection with the magic one toe W key. I returned to my texture and click on the mosque. I cook to create a mask. I feel bad that sure, with the background collar, you change the blend mode. Two. Linear dodge. Then I duplicate that layer with control J or Koeman J and change explains more auditory scream and the layer below too soft slides I applied, but to both layers to have a nice glowing effect. I reapply the future by pressing commander Control F in just way. The last future Years is reapplied with the same intensity, but repeat the same process for these leads. I go to my texture and select earlier Presley to have my move to selected. I hold option or ought and drive it to the side to duplicate it. Price control, teacher. Rotate and adjust it. Present a josette and control T again and right click on it to sell like the war option. I think my time to move those handles and also the interior of the mash those eggs that the Intersect I tried toe not distort the texture so much and let it flow according to the government of the character. When I'm happy, I press intellectual sector action. I go to my ankle layer to select that section off the sleeve. So having the W key select, I click on the section, go back to my text earlier and great creature New mosque. I click on the mask layer and noticed that I I unlock my mask clear, my mask clear. Selecting I click on their layer. She'll have the layer selected. I go back to my covers and I press control T. And I'm adjusting the artwork, but not the mask. I'm working with the extra but not the mask. I go back to my layer and really my layer and the mask the way. If I have to move them, both will move at the same time. Then I changed the blade motor soft light and duplicated by pressing Coleman Jr Control J and Change explained mode to scream, I press control, have to reapply the 1000 blur filter to those layers. Also notice how used the miniature, locate the little detail on my artwork and just selected with the lasso two and deleted because it was getting on the way of the texture. I repeat the same process for the others leave now I press he attractive a to the crop to and adjust my campus, and in annual earlier I begin to create a mood or atmosphere to frame my character. So he fed chopped brush before in photo shop. But past inflow said to about 15 40% captured there light gray from the background, induced in color, peeking from the stuff to add some light blue treat. Next I'm going to I didn't extra light source imagined that that light is coming from the stuff and he's reaching the character. I select all my layers by holding shift in command and clicking on the Terminator and selecting the outlines in the feel the way I have. Ah, clear Sylhet. We'll feel that selection with the background color, which is the same as the blue off the stuff I change. Explain more what you soft light in. Create a new layer mask with the great in two sets to radio. I just click and drag the gray agent from the head of the character out. In that way, I'm ask out the blue from their layer. I changed the blamed Morcha multiply. I just think that multiplies working best junior refining my mask with a soft brush and I consider some areas that the light off the stuff wouldn't be influencing the character. So much to finish. I select the outlines of the character, capture its selection, holding comment and hide that selection with control or command page. Now in a new layer. I begin to paint with the same blue I have from the stuff in my brush, such to leaner dodge planes mode, these lights imagining that those are very sharp highlights coming from the stuff. I think my time to get things right, but essentially injures later. I'm trying to block those highlights coming from this stuff. And now I captured the selection of the lion again and in a knee earlier, and with a soft brush, I had some soft highlights. Imagine where the light of the staff would reach the character with a hardy razor. I carve out some areas off that highlight to make it more interesting. I apply a little bit of blur too soft in those edge's and drop their posse off the layer to about 50%. I continue adjusting my highlights, so I just finished with very gentle. That's and try to add some things, but I realized that sometimes less is more. Oh, these minor details and he seems the characters already. I look at the character and consider it finished, which is looking good. I like the final result. Congratulations. We have finished discourse. I hope you have enjoyed this class and that it has inspired also that you have a lot of some technical skills. New relationship, Photoshopped and how wonderful Thank you for watching. 17. Conclusion: thank you for joining the class. At least feel welcome to use the video classes as a guide to create the character on your own style. Also shared initially sketch stages off your character before committing to final details. I'm happy to assist you. I hope it is class King inspired and prove your digital painting skills as the last recommendation. Have fun, Keep Brexit and persist. Love is what makes us care for our work and guide us further down the path off. Become your better artist. As I said, enjoy the process and without noticing, you will build great artwork. I look forward to senior projects on the class Project gallery. All the best Robson bye for now.