Digital Painting in General | Brendon Schumacker | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Digital Painting in General

teacher avatar Brendon Schumacker, Artist and Designer

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

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

24 Lessons (4h 42m)
    • 1. Digital Painting in General

      0:50
    • 2. Introduction

      6:55
    • 3. Course Outline

      5:12
    • 4. Software and Applications

      9:36
    • 5. Hardware - Drawing Tablets

      12:10
    • 6. The Basic Process

      10:04
    • 7. Universal Digital Painting Tools

      11:47
    • 8. Painting Tools Continued

      13:03
    • 9. Painting in Krita Software

      14:08
    • 10. Painting in Sketchbook

      14:47
    • 11. Compositions with Values

      7:01
    • 12. Value Painting

      7:40
    • 13. Base Painting

      16:02
    • 14. Making Layers

      15:15
    • 15. Light and Shade

      17:24
    • 16. Painting with Detail

      17:38
    • 17. Texture

      13:53
    • 18. Light and Shade for the Character

      14:16
    • 19. Defining the Character

      9:18
    • 20. Character Texture

      18:27
    • 21. Reflective Light

      16:44
    • 22. Timelapse

      4:01
    • 23. Special Effects and Finishing Touches

      14:37
    • 24. Final Review

      10:50
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

44

Students

--

Projects

About This Class

Digital painting is an increasingly popular art medium, and it is the dominant industry standard for many entertainment industries such as games and movies. You don't have to be an artist to learn the ins and outs of digital painting. It is a fun hobby and useful for anyone who appreciates art.

This class is intended to demonstration how digital art works "in general" and, to give you a foundation in the process of creating your own digital illustrations with confidence. It's a fun class with lots of examples and demonstrations to help making digital painting fun for everyone.

We will cover a variety of softwares, demonstrated in real-time video with discussion and tips. The softwares include Photoshop, GIMP, Sketchbook, and Krita. We will see what all of these softwares have in common and where they differ. And with these few softwares you should also be able to understand any other software in the world of digital painting.

After that we will walk through a full digital painting from start to finish. The instructor will show you the most popular standards for creating digital art as well his own preferred techniques. We will cover various methods of creating digital art, including the most popular methods used by industry professionals.

Meet Your Teacher

Teacher Profile Image

Brendon Schumacker

Artist and Designer

Teacher

Brendon Schumacker is an accomplished artist and illustrator with experience in many art forms. Having drawn since a young age, Brendon has a lifetime of educational background in freehand art from various schools in USA and has studied along side with artists of varied backgrounds, giving him a diverse understanding of many illustration styles and techniques. He has published comics and children's books, has done multiple gallery openings, and has been doing freelance illustration and design for over 10 years. His instruction style is casual and entertaining while also being detailed in his examination of varied art techniques.

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Digital Painting in General: Digital painting can be hard to break into. There are many different softwares, are the different tablets, many different techniques of painting to choose from. In these lessons, we will review the software and hardware options and help you to make a choice. Then we will take a look at some of the most popular drawing apps, see where they are the same, where they are different. Next, we will review some of the different techniques of painting. And finally, I will demonstrate in a tomb scene, colored illustration, dream, watch, learn flight techniques as well as my mistakes, and offer all of my best tips and knowledge in digital. Wet. Look forward to seeing you in the first lesson. 2. Introduction: Hello and welcome to digital painting in general. And this course we're going to cover a lot of stuff though, just help you to understand what is digital painting. All right? I'll have people to see digital painting. You're like, How do I do that? As your first question? It's actually the wrong question. You could say, what is digital painting? What is this? What am I looking at? What am I experiencing? Where all of these beautiful images that I see coming out on the Internet these days. What does it mean? And how they lead to some of the world's greatest entertainment, such as movies, which require concept art and including games and everything like this. Let, let's dive right in and have a look at a thing or two. Here's some coordinates. All softwares have the same tools. Use what you like. What do I mean by this? Is that there are many different types of software to do digital painting with. The most famous obviously is Photoshop. There's also corral. And the software you're looking at now is called GIMP. And we're also going to have a look at some other ones such as sketchbook. Used to be called Sketchbook Pro. Now just sketch book and one or two others. We'll cover that a little bit later. But I just want to highlight this note right here. The point is, whichever software you have, if you're completely new to digital painting, just don't worry about which software you're using. Use any software. If you don't want to spend any money, use a free software such as this one we're looking at right now is GIMP. It's very good. It's made them again. There's another one here was making him and we can look at that stuff a little bit later. You'll probably, I'm sure by now you've probably seen a lot of my illustrations, maybe in a promo video of something. And so you'll get the idea. A lot of people don't know this, so I have to just tell them outright that not all awesome illustrations or digital paintings are made in Photoshop. You can use other softwares. I just want to make sure that's very clear. And they all basically have the same tools. So if you learn one is very easy to migrate over to another one. So don't be too nervous about which one you start with. That's the whole point of that first note, all softwares have the same tools. Use what you like. Next note, there are a hundreds of different micro tips for everything from painting, for painting trees. And you can use your imagination. But we must understand basic color theory and texture to get started. For digital painting here, this has nothing to do with drawing. We're not going to learn how to draw properly with perspective. This is all about digital painting. That's what this course is. So we're focusing on the brushes and coloring techniques and just basically how to fill a canvas full of color and make it beautiful illustration. Now we will have to understand some drawing that's kind of a basic requirement. And probably some tips will be covered. But for the most part, you should probably know how to draw a little bit and then we can dive into the painting. Next tip. This is called digital art. Art made on real canvas or paper, is called traditional art. Right? What are the pros and cons of these two art forms? Digital art is much more convenient. It's the streamline, right? But I just want to make, a lot of people might not understand as well. What if I make a painting and digital illustration, then I put it into a book. I could take a photo of an oil painting and put it into, make it as an illustration for a book. What's the difference? The difference? Well, the difference is nominal, the difference is nothing. Digital art is digital art. It was made on a computer and traditional art, that's simply means it was made in traditional art form on paper or a canvas. Oil paints and acrylics and, and pastels and watercolor. There's are all traditional art. Now we can mimic those art forms. We can mimic the style of all of those art forms. In digital art, it takes a bit of talent, takes a bit of savvy. But let's just make clear because a lot of people, they might not know the vocabulary. You need this vocabulary. The vocabulary is traditional art, is what we call art. A visual art made on flat surfaces, right? It was called traditional art before computers came around and we had digital art. So I just want to make that one tiny, tiny little thing very clear. Traditional digital art is superior for business. I'll say that much, that much. If you want to get into video games or comic books or this that everybody's using digital. Why? Because it's faster. It just like who won the war with bows, arrows versus guns? Well, the guns one because they're more powerful, they're faster, the more efficient. We don't want that to be true sometimes, but that's how it is. Unfortunately in the business world, that's how it is. So in terms of business, digital art is probably making a lot more money than traditional or even no traditional art. You see on TV a painting sold for a million dollars. And I'm sure that's a big business too. But if you're not that Picasso or Renaissance art is Donatello or Michelangelo or something. And you're planning on a career in art in today's world and you want it to be your full-time living. Digital art would be a confident choice. And traditional art would be a lot harder, harder unless you have some support from family and friends and, or some type of financial support. So digital art is superior in that regard. But that doesn't mean I'm not at all. Nobody is disrespectful towards the digital traditional art. Traditional art is good. It's just that for business these days. Well, you know, you gotta keep up with the times. You've got to be fast and digital art is lot faster, a lot more convenient. Okay, and finally, let's look at our lastNode. Focus on the results, not the tools. Good artists make art with any tools they have. The secret is in the knowledge. Ancient artists had crude tools and they made better art. Tools just help make things easier and enhance the results. And that's all for this entire lesson here, I just wanted you guys to get an idea of what the purpose and the outset of this entire course is going to be. And I look forward to seeing you in the next lesson. 3. Course Outline: Let's have a quick, another quick informational introduction to the general outline of the course. That's what this is. We have a general outline here. There's going to be a divergence from this. This is not a perfect outline, but this is basically what we're going to do. That I know that because I've carefully planned this all out. So we're going to have a little bit of something to be perfect, but basically we're going to go in this order. So the first one we have is the software choice C, which software you're going to choose, why it matters and why it doesn't matter. And that's going to include everything from photoshopped grill, GIMP and Crito. All these different famous names as sketchbook and Manga Studio. There is a lot. So we'll just have a look at the, which software you're going to use on the iPad, they have a certain softwares will cover that. And then the hardware choice, right? Again, going back to the iPad is a, is a valid choice. I've seen a lot of beautiful work made on an iPad and some tablets. We also have a laptop or desktop computer, which is probably the norm and a lot of cases. So that's how this all hardware. We'll have a look at that. And section three, new composition and prep work. That has to do with the drawing phase. You want to make a good drawing. I'm just gonna give you some tips. This is not a drawing lesson, so we'll just have a few tips on how to do your competence, your composition, excuse me, how did your composition and how to set things up to prepare your drawing in a way. And we don't always do drawing, you'll learn that. But to prepare things in a way that you'll be able to do your digital painting section for digital tools, right? There's gonna be all the tools that we have inside. As you can see, my mouse over here on the left-hand side, we would have a toolbox. Which tools do we need to use? Which ones are most important? A lot of digital software as they come packed with all types of tools designed for photos. And those are useful. And it's designed for graphic design. And that can be useful. Sometimes it's all useful. But what are the most important tools that we need to focus on for digital painting? That's what Section 4 will be about. Again, this is a rough, rough outline, but we're going to focus on that at some point. And the process, we do this. If you've taken any of my courses, there's always a process, right? And anybody who's taken art classes before, It's all about the process. You have a sketch phase and a drawing phase. And we have value painting. And we have lain down your base color then texture and lightened shade. It. We saw that process, so we'll do that in Section 5, Section 6789. Here, these sections there, the following session. First, we review the process of section 5. Maybe I should better call it the review of the process. But 6789, that is the actual process. Right? We'll do one step at a time. We'll draw. Now we'll do base color and the light and texture. Light means it includes light and shade and a bunch of other things and details. When you're finished with everything and you're happy you go and add some special finishing touches. And we have that here too. So there's a little bit of blur between the lines here because some of it, it all happens at once. But if you get when you get the general idea, when he separated like this, it's easy to understand and then you can come back later. And your mind and your talent and your skills will somehow figure out how you need to do it for you. But I'll give you a general premise and an outline that you can follow religiously. And it'll always work pretty good. Myths of this, we're also in this. What I said is going to diverge somewhere in here. I'm going to slip in. The process of most professionals use is the value painting. But I didn't know exactly how to fit that into the outline. Because, well, you'll see when it happens. The value painting can take over the drawing and base color process. It can change the entire thing. You could even like, I could have split this into two courses, but I think we can squeeze it in here and you'll understand when you see it, suddenly have to see, if you don't know already that we'll see. And so do value paintings. And I specifically did not write that down because I don't want to confuse things. I just want to have this bullet 0.1 through ten. It looks beautiful and perfect. But when the value payment comes up, you'll see exactly what I mean and maybe understand why didn't slip it in to confuse things. Because some new commerce and beginners might not know what value painting is. It's rather new. And we'll get to it. You'll see, you'll see. Don't worry. Sorry, I'm rambling on but that's it for this and you know, that's an overview. So now we can go ahead and start off with the very first lesson, which is software of choice. It won't be long, but it'll help you to gain confidence in the software that you're using. This. Go ahead and do that in the next lesson. See you soon. 4. Software and Applications: Okay, welcome back. Now we're going to have a look at some software and the things that we need from software. So I have a couple of slides prepared here. And there's a chicken versus the egg, which came first kind of thing here that I always call it that, where we kinda want to understand two things at once. So I have two slides. One thing is, these are all the things that we're going to need here for all of the softwares. And I just wanted to make the point. I actually took the time to write this list down. Because the point is all of the software is we're going to look at they do have all of these. That's one thing I want to keep stressing in this entire course and all of these lessons is that you can pretty much use any software. There might be. Some of them have pluses and minuses. There's pros and cons and things. And that's what we're gonna do right now is look at some of that. I'm going to give you just a little bit of first-hand knowledge. I'll tell you what I do know and what I don't know. And but what we'd need to know for the essentials, because this is digital painting in general, as I titled it right here. We're just trying to break the ice. We're just trying to get in there. So the first clue is to not make a big deal about which software that you use as long as it has all of these features and you don't have to memorize those. It's no big deal. We'll have a look at that in depth later. Right now, let's just say the common names. Photoshop cropping. Let me do one thing and note that some of these sketchbook, wrong layer sketch book create a gimp and I think maybe procreate are free. I'm not an iPad user, sorry, I don't know. And Clip Studio, I'm also not sure about. But these are very famous and very free sketchbook right here. So those are good. Photoshop is very much not free and Corel Painter is the opposite of free. It's quite expensive. And affinity for Mac, I believe I actually just visited a website and it seems that they charge something, but it's not very expensive. Okay, so what are the major differences with these here? Whoops, put that there. I just happened to put the logos over here. A little visual aid, but really there isn't much. As I said, they all have the tools. But there is something, some things that you can't do and it's important to note. If you want to be a graphic designer, for example, you have to use text. You'll have to just, for example, this is Gimp that I'm using right now. If I didn't say that already, I'm just using GIMP break now for the purpose of this. And as you can see, I drew text in here. I wrote that text in here, or I copied and pasted some of it from a list that I had in a Notepad. And you can do that in GIMP. I think you can not do that in, let's say, sketchbook doesn't support texts, we'll look at that. And Crito, which also does not support texts, these two here. So let's say for example, you wanted to make a comic book. Well, you could draw the comic book and sketchbook and create a bot doing the lettering, right? And then adding the word art. Maybe in some cases would be a little bit more difficult. Gimp is OK, photoshop is okay. And lets obviously look at something that should be obvious by now. But the ones that I wrote on the top here, these are the star programs, right? Everybody knows Photoshop and make it better start than that. Yeah, not so easy. These are these are the stars here. Photoshop affinity I'm not as familiar with, but since they're dedicated to Mac or they used to be, it seems to be the the choice for Macintosh and Apple products and stuff. So I don't know a lot about that. But I can promise you Photoshop and Corel Painter, row cleaner is very expensive. I don't know if people use that. I guess some professional people, but the people who like it, love it. So it's one of those things. It's like an elite things and Photoshop obviously is the most common. It's like the name. If you do anything with any digital image, people say I Photoshopped it. It's like the brand. The brand name is actually ingrained into the language that we use in English. So there's that and there's a reason for that. Photoshop can do just about everything, right? What can you not do it? You can do text, handles text very well. You can do digital painting, graphic design. And what I mean, what's the difference? Graphic design. Usually graphic design means using more texts. You're making layout for a magazine or, or for advertisement or something like this. They can handle everything. Gip is pretty good in comparison and Photoshop, considering that it's a 100 percent free and they improve by the year, they're always getting better and better. Gift does not have as much. It's not as powerful as Photoshop in terms of downloading awesome brushes and doing fancy texts are and things like this. It's not as powerful, but it's free. And so if you're a beginner, GIP is great. Now if you don't care about design at all, if you don't care about text or comic book stuff, and you just want a pink just to digital paintings, right? Sketchbook is great. You just painting. Krita, also very good. Just for painting. That's all you have to do if you just wanted some good brushes. And I mean, I know some professional, not personally, but I've noticed some professional people who actually work in concept art. And what is it like working in video games and Hollywood movies and stuff. I've seen a guy or two who uses creative because he just loves to brushes and it's all it means. It's a very good selection of brushes, including like ink brushes and acrylic brushes and painterly brushes, all that stuff. They just have good brushes. So crit is really good for that, as well as his sketchbook. So there's that I use GIMP as you can see, it's what I'm best at and I currently am using Photoshop also. I just bought a annual license. I figured I should at least give it a try. And so far I'm enjoying it. I like it. It's good. It is a little bit better than GIMP when it comes to painting because of the The brushes, they just have so many brushes. They have brushes and you can make brushes and there's stuff about GIP, which I prefer. But when it comes down to it Photoshop, well, you know, I don't wanna say it's better or worse, but it's a very, very good industry, standard software Clips Studio. These here again, honestly, I just don't know them. But this is obviously it says it's for comics. I wrote that down because that's what I read in. So it probably supports good text and everything you need if you want to do comics. The important thing. So I've pretty much covered everything that I know they're based on what I've done. And I have used most of the softwares, this crop painter many, many years ago, but I guess it's just like a very nice version of Photoshop. But if you sketchbook create a gimp and have not used that one and probably another one, I'm forgetting, but this list is already long enough. Okay? So we just want to make sure that all of these softwares, because we're doing digital painting, right? Do they all have that? And the answer is yes. I made sure when I looked it up, even the ones I said here that don't support texts. Well, we're not really talking about texts, right? This doesn't that doesn't really yeah. I don't know if this one does or not. Maybe. But we're not talking about that in this course. What we're talking about is digital painting. In theory, you could use a software that doesn't support tax like crit up and do all of your drawing or painting, and then just move it over to another software to add words if you have to. We're only focusing on digital paint. So the theory here, it's for all drawing and coloring and painting brushes type of purposes. We have everything that we need and all of those softwares, and you can basically choose any of them to get started. Most important here is layers, in my opinion, that we get on the right layer. Sorry if I'm fumbling around a bit. Layers and brushes are the most important thing. Movement, we should assume it should be easy, right? All these softwares are designed to be digital softwares. So you should be able to move around. But layers and brushes are the top, top two big things. And then a lot of this other stuff here. I mean, it's good, but these are the essentials, but you really need, because I've seen some very, very basic softwares, like on a tablet or a phone or something. And they only have layers and brushes and people make amazing things with them. That's what you really need is those two things. But a lot of these other things, if you want to get more professional than, well, obviously, it's nice to have dodge burn. We'll cover that later. Color and dialogues and all these filters and things for special effects. And that's all good. Okay? So I mean, basically that's it. This is just FYI for your information, I couldn't not do this. It had to be added to this lesson, to this course as a lesson. So just in case anybody didn't know all that, we've covered it and let's move on and look at the hardware real quick. And then we're going to have some fun and actually start drawing and painting. All right, see you in the next lesson. 5. Hardware - Drawing Tablets: Okay, so here we are in Photoshop and hopefully we will be switching around from different softwares and her lessons learned different things. Right here, what I have is a list that I found online. I didn't make this myself. There's nothing. There's really no need for it. They already made a good list and so let's stick with it. And I have faith in this list for reasons based upon my experience, things I've seen every day being online in our communities for many years. These are the words that we're familiar with. Now this list was kinda made from best to worst. But on the bottom they put sort of like computer tablets, right? These are like the iPad and a Microsoft Surface and the Samsung Galaxy. So I don't know if what they're saying there. I think what they're saying is these would be the best if you're going to get a tablet computer. These are the best ones, but does it mean that they're good? I see them being sold a lot for this purpose, but I haven't done it myself. I've seen great art come out of them. So there's that too. And I heard, I did hear that the both of these are they're just good to hear. So I'm assuming since this one is in the list with them, it must be good. Again, it's the Apple iPad Pro. If you're an Apple user for Microsoft fans, you can use a Surface Pro 7 and Samsung Galaxy Tab S. I know for a fact that at least two of these, if not all of them, allow for the use of a stylus, which was, that was the big deal. When the iPad Pro came out, they said that it, it'll use the Microsoft Pro 7. We'll use a stylus. So you don't want to draw with your finger. That's actually the point of the first points I want to focus on here. Why do we need a tablet? We're doing digital painting. You don't want to use a mouse, right? You can't really get in there and draw. You wouldn't be able to draw and paint and play with the brushes and do different things like this. Doing that with a mouse. You just don't have a lot of finesse, right? Is going to be missing a lot. Now you don't have to be the greatest artist in the world, but trust me, just, I think most people know this and I don't have to explain it. But trying to draw with a mouse is just not fun. And if you're going to use the tools like a tool assisted drawing with a mouse. I would take forever and it would be a completely different type of lessons. In this course, we're going to assume that you wanna do some digital painting. And we're going to assume that you would want a tablet to do that. So if you already have a computer and you want to use a computer and I have to spend too much money. You're definitely going to be kinda in this category here. But these are expensive for a lot of you. These are the best. That's why they have the, this is the, this is a list of the best tablets. And so, but anyway, let me just make some notes real quick and we have two points to make here. One is, which of these companies doesn't make a difference are going to choose. And the other is, let's have a look at what the tablet actually does. Okay, so first of all, with a color selected here, I just want to note that here, here, here I color-coded them. These are the blue ones are whack them. So notice that out of this list of 11, well, let's exclude these. Let's say it's a list of, these are actual tablets, right? So excluding these here, we have a list of 1, 2, 3, 4, 5, 6, 7, 8. We have eight out of 84 of them. Half of them are whacking. That's how you pronounce that company. You go to their website and watch their videos, whack them tablets. Half of them are from that company. Furthermore, since I've been aware of these tablets, which goes back to the year 2000. Whack them was, whoops, sorry. Whack him. Was the company. That's the one who makes it. It's always been like that. So let's go the easy answer because a lot of people taking this course are beginners. The easy answer is to go get a whack and that's it. And you don't have to get a whack them as we see over here. There's different types of tablets. This one is a whack and that has a screen that is in fact the first one on the list. And so whack them. Since 2002. It's very famous brand that's the best one. So that's the best of the best right there. This I believe is yeah, the Haiyan that I looked up. Well, so it looks very beautiful, very nice. They should both come with the stylus pen and they have screens so you can draw directly onto the screen. I have none of these fancy things, so okay. This is what I have right here. I have a lack of and this one is called a pendant touch. It's cheap and it's, it works very well. I've had two atoms before. This is my second one. The previous one was bigger. And I worried if a small one would be not good enough for Would it be awkward because it's so small and that's not the case. I can draw all the way across the screen easily. It's actually more easy because if your tablets big and you have to draw all the way across it, right? That could be well harder. And then for detail, that doesn't matter because all you have to do, of course, is to zoom in and reduce your brush size and start doing details right, small as you want. Just like that. So the important things for me, especially for beginners, you're taking this course, you're just learning about digital painting in general. If you don't have a tablet already, don't be afraid. Much like software where we reviewed, they're all pretty much the same. Don't be afraid to start off with a cheap one. And don't worry too much about the screen or the brand name or this and that just get a nice one from Rackham. If you went experiment with y on x pen, I'd recommend saving that until you start off with something that you can have faith in a wagon. And what else do we have to cover here? The screen? Is it hard to draw when you don't have a screen? Obviously, the questions, I mean, the answer to that question is going to be yes. It's harder, but I'm doing it right now, right? I could do right here with the draw circle. Have something come down like this, the jaw, and some hair line. Okay. There we almost have what looks like a person just like that. I just drew that. My pen is scratching on the pad as I as I was talking and drawing. And my eyes are just looking at the screen and somehow it just works. You get used to it after a week or two. So that was just, you know, I'm not showing off those obviously. I wasn't happy with how that looked at all, but I just want to make the point that is doable because I've smoothing. See all my lines are those who do they do smoothing. And now when I draw lines the other come out real, perfect and smooth. You can do that. So there's less stuff to learn. That's about it. So choose a tablet, get one if you have money and you want to go ahead with these, these are trustworthy. And if you know that you're going to be doing this for a long time, you can do that if you want to. I have never used one of those with the screen actually. So I'm not gonna go into detail about it, but I'll just assume it's better. That's why the company makes a lot of money in their 70s for many years. But these work just as well without the screen. And I'm happy with that there also. I don't have to worry about this. I could take this outside stuff it in a bag. It's cheaper. I don't I don't think it'll break with these. I don't know. So there's all there's things to consider. And last but not least, let's have a look at the settings. If you're gonna get a whack them, you can actually specifically do your settings per software. It actually detects the software. So this is my general settings here, and you see the buttons that we have. There's four, these are actually four buttons. There's 1234, but they organized like that. And for each of those four buttons, you can program in if you want any kind of action. So you can set this to be a click or a keyboard stroke or, well, as you can see, there's many settings here. I actually don't use those. I just use all the hot keys on the keyboard, and that works out fine for me. You can also modify the pen. There are two buttons on the pen, 12 like that. And for me, how might, you, might have noticed I've been drawing and undoing things a lot, right? So you're do some strokes and I'll go undo, undo, undo. I'm doing that with this button right here, the front button. And so let's go back to the settings. Are you looking at setting here and go to right-click. I have it set to right-click. Right. That's that one for Photoshop. Yeah. See right here it even says I have it set to a keystroke. And you can see right about here, it's set to control you, which I denote with that's the wrong button, that's this one down here, control forward slash, which is my, that's my undo command. I changed the settings, I'm left-handed, so I'd make some things backwards. Now as I push here, you can see right in this area here, anywhere I push on the screen, it's testing my pressure sensitivity for me. That's another thing that's really important. With this. We go back here to Photoshop and I change a brush to a brush that uses pressure sensitivity. Watch how I see that. I can push soft and then I can push down slowly, push down harder and harder. And that's useful, can get a lot of really nice technique side of it. And it's much more natural, even if you're just trying to draw on a tablet to make it look like you're drawing with pencil. You'll see that it looks much, much more natural if you're using a pressure sensitivity. Okay, So we've pretty much covered everything just to close up here real quick, There's some other settings you can do. Set your double-click and the button buttons. I mean, there's just a lot touch options. I set it so that it doesn't recognize CI up all this turned off here. I don't want it to do anything when I touch it only when my pen touches down to draw, say so right now my finger is touching it and you see it does nothing. But when my pen goes, then it draws. Because how can you rest your hand? If your hand is like sitting over here and you have their pen coming down. If you want to rest your hand on the flat of the surface there, then every time your hand touches it and it starts to draw or move. I don't know how that works. You'll see some people put a special glove on to deal with that because they want to use their fingers and their pen and the stylist. But for me, I only want the pen to work, so I just turn that setting off. Everything I showed you there, That's the basics. And we can go ahead and close this out here. This is all about just getting a tablet. This is your hardware. So you have a choice of connecting a tablet to your computer or buying a computer tablet from Samsung, Microsoft, where Apple. And that's about it. So good luck with that if you don't have a tablet already, I hope you get the right choice. And again, I just recommend getting a small this is called Pentateuch in case that wasn't clear. I didn't that one is not on the list because it's not the best of the best. But it's pen and touch. That's all you just look up pen and touch. They have various versions of it. You can get a bigger one, the smaller one. This dependent touch. Did they put it here? Now they didn't put it in because it's not the best. This is the list of the best of the best. But it's just it works. You know, everything that I do, I do with this and it's good. So that's a good place to start if you're not sure. And you just want to get something that's not too expensive. Okay, let's move on. We'll go ahead and start doing some. What do you do in the next lesson that I believe we're going to start drawing. Finally, I will give you something funny. Okay, I'll see you in the next lesson. 6. The Basic Process: So now I want to go ahead and start having a look at the technique and how we get stuff done. We have our software and we're going to experiment with different softwares right here. I'm starting with Photoshop. And as you can see, I've customized the interface a little bit. We can look into that a bit more later, but more importantly, let's look at what is it that we're going to do and what tools do we need? So I wanted to start off with a quick demonstration here. And I prepared this for you so you don't have to spend too much time watching me draw. We're going to draw, I'm going to walk you through one whole full illustration in later sections. But right now let's just have a quick overview of the process. So the first thing I normally do, and this is from my favorite artists who I respect. Sometimes they start with a sketch or sometimes they dive right in with just paint. But usually most of the artists who I respect the most always do a nice sketch, sometimes even a really nice drawing. It's nice to have something like that. A foundation is something that you can tweak all the little aspects and the details and things make changes before you start painting. So, and that'll also help with making a good composition and making sure that you have everything aligned on the Canvas where you want it. And it's digital painting. So remember, you can move things around, cut and paste, and it's a lot of fun. So let's go ahead and loop this sketch here. I start off with a sketch and then I'll add some color. I call this the base color. And that is what most people who also I see online or any type of professional painting class. So we'd call this a base, right? Even if you're painting the wall, you might have something like painting the walls in your house. You want to just paint the walls white. You might start off with a base and you might need a few layers, right? That's how painting goes. So we need a base layer where we just kinda put down the colors. And if I take a sample of the color and you look at my color palette over here, you can see where it sat in these type of tones and things. This is all very important when we're drawing people. Almost all people, no matter what their skin color is, would be in this area of sort of orange between yellow and red right in the middle there. And then if it's a more fair-skinned person, you simply go to the higher kind of, let me change the opacity here real quick. You would go to a higher a value, a lighter value like that, right? And I'll be very fair-skinned person. And a dark skinned person might be down here. Which gives us more of a sort of a brownish kind of look like that. And then there's everywhere in between. So this one I have here, she's well, probably medium tone, I guess maybe she's a regular white girl with a bit of a tan who knows? And so that's our model to start with. And after we decide all of the base colors and she has blue eyes and I made her lips just a little bit darker for that reddish kind of Lipstick, Lipstick type of look. Dry maker, little bit beautiful, little bit sexy. And an after we do that. I add another layer, right? So now you see we have three layers. So far we started off with a sketch. And underneath, if you notice over here, the color layer is underneath the sketch layer. What happens if I put the color layer above the sketch layer? We're now you can't see the sketch lines anymore. And all that work you did on a sketch, it goes away. It goes to nothing. So I keep the color under the sketch. And then on top of that in between the sketch and the color layer, I can start to add lightened shape. So if I take away the color layer now, you can see quite clearly here I have some dark areas that's for shade. And around here on her nose and her cheeks, there should be some light bouncing off the the highlight points of her features while I just added some yellow. And using yellow instead of white is often very good at what it looks like. A more natural sunlight instead of a fluorescent light, which is not as attractive. It's usually good and using a more of a bluish kind of color for an UCI, even some purples and stuff in here. You're just randomly select some colors in there because it's art sometimes. And the more colors you have, the more beautiful it will be. These are all tips. I cannot say everything at once. I can't make a list of everything that you should think about all at once. It be incredibly boring. But as we go along, you'll pick up a tip here and a tip there, a few pointers. So now that I've done all that, it already starts to look like a pretty good cartoon, right? It's not too shabby. But what we wanna do is normally what I'll do is I'll take that and I'll flatten it. So I'll merge all of those layers. And what I'll come up with something closer to this. This is what I call the middle stage. It always looks weird. What I did here is I flattened it. And so this is all on one layer. Now, all of these layers, I merged them together and then flatten them so that it's just one layer. And then I came in and you can still see some of the lines here. But what I would do is I'd come in and I turn the opacity down on my brush a little bit so it's a little transparent. And we get on the right layer. And I just go in there and start to work that out, right? So I imagine it will be darker inside the ear here. So I'll choose a dark, dark area like that and fill it in and there might be some highlights. So I already have the colors laid down. I have this color here. I don't need to keep going up to the color picker or the palate or color wheel here, as you choose to call it, I can just use the colors that I already have. And there's little bit of red there maybe I can at redness to her ear, which is not unusual, right? And so I didn't really plan to do any painting in this particular lesson here, but I'm just giving you a quick idea of how I'd go over each each of these lines and it takes a little time, right? But its work and you get faster at it right now I'm just being for demonstration purposes might be a little sloppy and not really paying attention. There's something like that. And eventually it'll cover up all of those lines that we had and turn it into a painterly style. Now, she still looks very strange. We've only made it halfway. And this is the scariest part when you get here and you start to say, doesn't look human, it looks like a monster. What's the difference between a human? Something looks really, really human, and something that looks like it's not human, but kinda could be. And it gives it that kind of monster feeling as what they call the uncanny valley. The difference is usually just a lot of work in detail. Alright, so you can see on this one here it's, it's a little bit more human by time we get to the end. Granted, this is not some type of masterpiece. Her eyes look a little funny here and there. And I just did this for demonstration purposes. I actually did a while ago and I had to stop in and do some other things. But if you notice here we have all the details. If you zoom in even of the texture of her skin, some eyelash, eyebrows, details and the reflection on her lips, the shading and lighting I spent a lot of time on even like, well, there's some freckles and things in there, so it looks a little bit more human. And then again, this is all just for demonstration. I just line them up next to each other so we can see. The most important thing is did it improve as you went too long? That's something we really want to think about. So if you see here the very first one, we had it look like a cartoon, kind of sketchy. And even at first we might have thought that looks like a nice drawing, right? But then by the time, if you keep working on it, by the time you get to here. This one, we would hope the middle one makes the first one looked like rubbish. That's yeah, that's what I hope for. So now her eyes have light reflecting in her eyes and you can feel that the surface and the features of her face and the shape of her nose and an all these things. And then by the time we get to the end, we hope that it looks a little bit more human, little bit more detailed, and there's always room for improvement. But again, this is for demonstration purposes, I hope just helps to make the point pretty clear. So that's what we'll be doing partially. And what we're gonna do in the next lesson is to make sure that you have all the tools to be able to do just that. Once you can do that, you can really dive into learning art and painting and everything. Let's just make sure that you have all the tools we're going to learn how to pan around, right? How can you move? How do you switch between Brush, say, zooming, between the drawing and erasing. And in a way that so you can do it very quickly as needed and not feel like every time I see now I don't even have the toolbox on. I have my hotkey setup. You have the toolbox over here. You don't want to feel like every time you want to switch from the pencil to erase, we have to go all the way back here, click this, and then do that and then say I need the brush again and let me do this and let me do that and then go all the way back here. I'm going to set up some hotkeys. And you want to know what are the essential tools that you need, so you don't have to. There's hundreds of tools, I believe, if not hundreds of dozens at least. And including all of the options and things you can do here. Sometimes you need to flip the canvas, right, to make sure your symmetry, check your symmetry and things like that. Sometimes you might need to rotate the canvas. All these things. Let's have a quick look. A crash course on all the tools that I believe you'll need be very helpful to at least get you up to this level of drawing and painting, which I think is not too bad. Okay, we'll see you in the next lesson. 7. Universal Digital Painting Tools: Okay, Let's have a look at our list of required features and tools here. And I'll just go one by one to the list. It's not really something that's hard to memorize. A lot of it is something that you should probably mostly already know. I'll just add a new layer here and so I start drunk. One of the more important things is knowing where your hotkeys are. And in Photoshop, for example, that would be here. It's usually pretty self-explanatory. If I go to, it even tells you here There's a, there's a hotkey for the hockey, or as they call it here, a keyboard shortcuts, right? So you go Alt Shift Control K, That's a lot of keys depressed at once. I'll just use the menu here. And if we go, for example, they separate in Photoshop this into a separate application, menu, panel, menu tools, task basis. So for example, if we go to Tools, this is where you can see all of the tools that are over here in the toolbar. Not all of them, but the ones that I've selected. And that's also another feature to look at. And you can see right here, for example, the Move tool. I have selected the icky. So I don't want to walk you through every single tool and setting that I have in here. But I do want to have a look at how you use them and how you set them up. This is for hotkeys settings. Now, I happen to be left-handed, so I kinda do the opposite of what you're seeing here. Where you're seeing here. I've put all of the keys, the hotkeys, that, well, the essential hotkeys that I find to be the most important. And I put them here on the left side, which means why? Why would I do that? Because you'd be using your right hand. Most people I assume, will be using your right hand to draw with your stylus down here. On this would be the tablet, right? So what you wanna do is you want to have your right-hand constantly on the tablet just like I mean, I do right now. Let me see. So as you can see right now, I'm actually, I'm just doing the opposite. I don't want to confuse you, but this is the tablet, Let's say I'm drawing on the tablet, so just make your hand, make return whatever hand you're using. And then your right hand would be drawing here. And then your left hand would be always on the keyboard. I'm just doing the opposite of that right now. So my hotkeys are over on this side. Right now as I speak, my right hand is hovering over that area of the keyboard now, and my left hand is on tablet moving things around like this. So that's one way to think of it. As you see here. I just have, you know, one of the hotkeys is set to brush, the other is to erase. So for example, I could go like this and well, I'd need a new layer. To demonstrate this properly. I make the brush a little bigger. And I say, here is brush, erase, brush, erase, brush, erase, and I can just go back and forth like that easily. So that's definitely something you're going to want to be able to do very conveniently. And the other thing, as you can see, as I'm doing right now, this is called panning, right? So panning, the vocabulary is very important. I once had a student and they're trying to explain to me how did you move the thing and do the thing in that one episode that that one lesson that you had. And I just I couldn't for the life of me understand what he was trying to say. He cut a little frustrated and so did I because he wasn't using correct vocabulary. So let's try and use the correct vocabulary. And that's what we're doing here with this lesson is really important. At least you have the vocabulary so you can go look things up when you need to. Okay, So zoom in, zoom out in Photoshop. They just have the zoom tool. And when I put my stylus, when I go into Zoom to mode, I put my stylus, I touched the tablet, and I move it to the right and it goes in. I move it to the left and it goes out while I'm pushing down on the tablet. That is, there are also hotkeys. I I believe you can zoom in increments. I'm not sure. I just didn't find that useful. But in GIMP, I use hotkey so I can zoom in one step at a time. I believe I have open here. Yeah. So with GIMP or my hotkeys, I might have changed my hotkeys recently, but previously. Other it is yet this key. So can I have it set to the number pad? So I have eight key goes in and five goes out. It goes in, five goes up. And I really like that, That's another way of going about it. But with the Photoshop here also, it's not a problem. I got used to it. And then I just hold down the space-bar and that brings up the hand tool and I can pan, this is called panning. So we have Zoom In and Out and panning. That's really important. If you have a very big illustration that takes up the entire screen. I have whenever you hear now, yeah, this is the other scene that we were working on. So if you have an illustration that takes up the entire screen and let's say over here, have a son. I don't know why that just changed the brush. And over here you have mountains and stuff. And so you're going to want to like zoom in and do the details. And then after you zoom in, you might need to pan over and you more details over here. You just need to be able to move around. And that's the general idea of what we're trying to achieve with the movements here. So let's see, my brush is back to normal. We have, so that's movement. We've already covered the first part there. And as I said before, we also often want to flip the canvas. So in this software you can go into image. This is Photoshop again. And it's either they have it in multiple. Yeah, this one's called Image Rotation. And you go into Image, Image Rotation and go down to flip canvas horizontal. And that will flip everything that way horizontally, right? So I'll undo that. Of course, another one is the undo key I have. It's usually control Z, like any other software, but I have mine set up again with my own custom hotkey for my left-handedness. And sets flipping the canvas. Very useful and rotating the canvas, which means to be able to move it like this. So if you're drawing something detailed, you might have, let me choose a different brush here. Hard round brush. And as you can see, every time I make a mistake or when I do something, I have the undo key is, is just there, handily selected. So I'm trying to draw a circle here, but I have to sketch it. Now, truth be told, obviously we're in software. I have a circle tool. But, you know, there's going to be situations where you just need to move things around. Maybe you will need to draw an oval and a tool just doesn't work for you sometimes get in there and I see there's an edge here. It looks a little lumpy, so occur with that. So we're sketching, sketching, your sketching on a piece of paper. You'd be able to spin the paper around, right? And get your hand into that perfect position so you can draw a line. There's not. Everybody can draw in all directions. My hand can go this way straight, it can go that way straight up, down, but how far can I go from here to there? It just doesn't feel very convenient unless I can flip the canvas this way. And now I can draw a straight line like that. It's much easier, right? I can't draw it in every direction. And the same thing when I'm trying to do curves. I can draw a curve like this. I can do on like that. But when I come around here, it starts to get a little heart my hand is and want to go that way, right? But if I can flip the canvas, I can do it a lot better. I like that. It just feels more natural for me. So there's many, many reasons obviously that you'd want to flip the canvas, just move it around just so you can get that sweet spot and draw perfect lines how you want to, that's rotating and flipping the canvas. So flipping the canvas is also good if you're trying to do symmetry. If I want to draw, say have a very, very rough, I'm intentionally making this very sloppy. So I try and draw like a human head. And here's the nose and the eyes go here and here. Now how can I be sure that my symmetry is correct? Right, without using too many fancy tools. And I get that lined up. I do my flip the canvas. And now I can check on this side and say, oh, this line wasn't really lined up so well with the other side there. And I should have put that in the middle of the canvas. All right, get back over here. I can see this one. There's little space over there. It just helps you to mirror, mirror what you're looking at so you can see it from both sides. So it gives you a little bit of a better view, better perspective, and help you to get things straightened out. That's a really useful part of flipping the canvas. And you see artists do that all the time digitally. Even when I worked on paper, I would use a mirror. Sometimes hold my paper up in a mirror to check my symmetry. Okay, And so let's stop that right there. We'll have a look at the rest of these. Probably can finish it in the next lesson. A lot of it's easy, but I wanted to spend a lot of time on the introduction there on moving around, panning, flipping and rotating the canvas and everything about the keyboard, and how to set up your keys. Just a real quick review here. The whole point I'm trying to make with this is just get all of your keys. Do take the time to set up your hotkeys and put them close to each other like this so that you can operate as efficiently as I'm operating right now, right? You don't want to have to stop and take the time for each and every brushstroke and say, Oh, where's that key for the eraser again? And then, oh, let me go back. And how do I rotate the canvas again, right? And all of that stuff. And also in closing, we can see over here the preferences. There's something in here to, to set up the toolbar. There it is, sorry. It's an edit. Go all the way down to a toolbar. And over here I customize which tools I want to see in my toolbar over here. Over here, there's a very long list of tools, many of which I know I will never use. Or if I do want to use them, I can come find them later or find them in the menu or something like this. But I just don't want all of them. How does say cluttering up my workspace? I just have over here the custom tools which I went to see. And I have them ordered and organized and just the way that I like them. So I can zoom in to the ones that I need. Most of them have hotkey set to him, but sometimes it is easier to just go over here because you can only have so many hotkeys really, right? So we'll go over here sometimes and manually select some of these and it's just as easy. Okay? So that's it. A customizing your toolbox and your hotkey preferences, or as they call it here, keyboard shortcuts in Photoshop. And then in the next lesson we'll have a look and maybe using a different software, add some more of these tubes, which all of these softwares have in common. Okay, see you in the next lesson. 8. Painting Tools Continued: Okay, welcome back. I'm just setting up my layer here. Presentation. We're going to do is have a look at layers. We already basically kind of covered it when we looked at this. What we're doing here is we're making various layers and bring up that white background. There it is. So we'd have, we'd start off with a sketch and then we can do color a different layer. And if I use my move tool here, you can see this. The colors that I have here are on a completely, completely separate from the sketch. Even looks kinda funny when you bring it out like that. And the whole point of that is, while it's extremely important so that we can get these types of results. It's almost hard to even express how important that is. That's what makes all are better is having layers starting off with base colors, almost every art form from oil painting to watercolor. You start off thinking in terms of layers and you build up upon it slowly. And that's how we come up with, well, that's how we do digital painting and that's how we do all painting. It's all about the layers. Now, I don't want to encourage people to think that the more layers you have, the better you are. Because as I've demonstrated here, what I do after I establish all my layers, my base colors and my shape of everything, I merge everything down. This here is one layer that I worked on and I kept working on it and I copied it and pasted it for demonstration purposes here into the final layer here. And this is all just one layer. Now, somebody might say, Oh, well, you should keep your layers separate so that you can play with the light and shade and this and that. And I would normally agree for many instances that's true, but you also have to learn how to just deal with it sometimes. For example, if I wanted to change the shape of her cheek here, I could just go in there and play with the Opacity. A smoothness around a can still it. If you can't do this, if you can't work on a surface that has some complexity to it, you change that opacity a little bit. If you can't just work like this and ignore layer sometimes you also, you're going to have a hard time and it's not going to be easy. You have to be able to paint actually. And so this is where the painting process comes in. You can't always be dependent on the layers. Layers are great. Layers are good, they make life easier, but I also recommend flattening your layers from time to time, as I've done here. And learn how to paint and to blend and things like this without depending on layers too much. And the reason for that is imagine that you have a full scene illustration with hundreds of objects on it. Are you going to have five layers per object that you end up with 500 layers. Either you're gonna get confused and it takes up a lot of memory. On your machine, a lot of people probably don't even have a computer that can do that because it takes up so much memory. There's a lot of considerations there. So at the end of the day, use layers but don't use them too much. I wouldn't say to depend on them for everything. So that's one very important thing with layers. And as to why we use layers, I hope I just demonstrated there very well. Brush, brush heads, brush tips, airbrush, pencil and eraser. Okay, so let's just flip back over it again. Here's GIMP, different software. Oh, I have to change. I will be a little bit. How to say cumbersome here, I'm going to fumble a little bit because I'm switching between softwares and therefore the hotkeys are different for each software. Okay, so here's a brush. As you can see. I just chose a brush in GIMP, whether or not use a brush or a pencil, it's virtually no difference except with a pencil you can get pixel-perfect sharpness and the brushes usually more anti essentialist, which means it'll be a bit more fuzzy or blurry. For now, let's just focus on a brush because we're doing digital painting and for the most part it makes no difference. And that would normally apply to design. But with the brush I have selected here we can choose different brush tips, right? So let me set the dynamics back to normal. So this is what it would normally look like, right? And that is a hard brush. We go over here and select a different brush. Or over in my dialogue over here, you can see it's selected that brush and now it's a soft, soft, round edge, right? So you have a hard edge versus a soft edge brush and then I can switch it to something else like this. Misty kind of look, right? So if you went to pink clouds or something, this might come in good. Or if he went the texture of mountains and trees in the background to look like it has some grittiness to it. You might use this type of brush. It's a little bit more natural looking. And then we have some strained brushes like this. I'm not sure what would you call it? It's like it looks like a cell or something. But if you painted around, that might be very useful for, let's say, animal skin texture or something like this. So there's all these different types of brushes and different things you can do with them. But what's very important is that you have a choice of brushes so that you can get texture and different effects and things like this cloudy effect right here. This looks like one of my custom brushes I made a while ago, is it? I can't remember. But this one here see it kinda looks like leaves. I do think that's accustomed brush. But that one it was not mine. A could be built-in again, I just can't remember. But that one obviously, it looks like you'd be really good for painting bushes and trees, right? Let's go do that right now. But if I just go around like this, it looks bushy. Blue would be perfect for that type of background. And then go into green. Write something darker, right? Starts to look like a bush. Come out a little bit. I'll go into a lighter shade, a little bit of yellow for the sun. And touched up here in there. And get for highlights, get very bright. And it starts to look like a bush with very little work. Whoops, wrong key on do very little work. And there's a lot more that could be done with that. But I'm just saying yeah, from a distance it looks like a bush, right? I'm just saying That's one very quick example of how we made life a lot easier. And it looks good too, right? I could look very realistic and very good just by using brushes and not having to draw everything else. That's what we wanna do. So let's get back into Photoshop. I'm just flipping back and forth and I have to move my hand a little bit. Okay? And so that is an example of using brushes. And this is what I meant here when I said different heads or tips of the brush, It's almost like your you have a stick and you can just change what the tip of it looks like. And you can also change how it behaves. So if I were to go, say, get a different type of brush here, this is a brush I use whenever I want to do clouds as a cloudy kind of look to it. So let me give it a different color. So it looks a little maybe like a blue cloud like that. 1000 misty or something like this. And you see a little bit of a cloud effect to it. But maybe I think it's too strong and I want the clouds to be off in the distance. And maybe I don't want them to be so cluttered. I want the cloud to be spaced out a little bit. So let's go ahead and see what would we do for that situation. I'll open up my effects here. Which one is it? This one? And the first thing I'll do is I'll change the spacing. So between each stroke of that cloud, it'll space out the cloud shape more, right? Yeah. Well, that's a little bit too much. So undo little bit. Back to where we were. Okay. Yeah. So until space out at that's still a little far. Good. There we go. So now with each stroke I do. It kinda spaces it out more evenly, but it's still kinda strong and I want to be able to blend it. So I'll go into the opacity up here and I'll bring the opacity down to about 20 is often a good starting number. And now you can see I can really just work in the clouds. Softly. Change the color to a light highlight color. Right? Let's get all the way up there. And you kinda white. So you can do some highlights where the sun is coming, then go darker for the bottom of the cloud. Change the size a little bit, I get bigger. There's there's a bottom of the cloud are shown. It is all just, you know, off the top of my head here for demonstration purposes. So it would take some time to really flesh out some beautiful clouds. But just see how quickly you can change the shape and play with the dynamics. This is what I call brush dynamics. So when to delete that whole scene, this is also something I do Control a to select that entire layer. I hit Delete that. I do control D to de-select the layer. So I'm back to where I started off at. That's what photoshop, GIMP, it would be different, but that's another part of learning your tools. Being able to select the whole layer to be able to sketch real quickly, move around all these types of things. So that covers the brushes and the tool options for brushes. Again, this is not a Photoshop lesson or a gimp lesson or credit lesson. I just want to demonstrate the tools that we need. Bumpkins, ingredients and selecting shapes and stuff is, for example, next on the list. So all of the tools that we need and which are universal in all of the software. So I'm going to use to demonstrate here. Here's a selection tool and then I can go to fill it in with a bucket, right? If you have a lot of people taking these courses, probably have some experience and you've seen this before, right? You can do that. You can select an area so that it's contained and you're only operating within that area, right? So that would be for a square. And you can also have, there's usually every one of these softwares will have at least a square and a circle and some type of selection tool. That one is a square. Why can I get the circle there? It is. Sorry about that. And I could select a circle and hit the Delete key and just cut out that part there, right? Or I could actually cut it out with Control X, paste it back in with Control Shift V. Again, this is just Photoshop specific and move that there. And who knows? Maybe I'm making a flag or maybe there was some type of building architecture shape I was working on and I needed that is extremely useful. And we'll see an example of all this stuff in the later lessons. Right now I'm just, this is like a crash course of all of these things that all of these tools that we need, this is what I consider to be the bare minimum. And all of these softwares have this in common. So this will get very boring. I'd, I don't want to go through each of these step-by-step. I'm, I'm definitely going to use each and every one of these tools in the upcoming demonstration videos. So and things like this, like cut, copy, paste move. I think we don't need to really go through that. I already just did a quick demonstration there. I think you get the idea and you will definitely see me use all of these things. And then there's enhancing, Dodge and Burn. Again, all of the softwares have these types of things and we're going to cover him. So I just wanted to list that out real quick and give you an overview of what's to come. These other tools. And I wanted you to see that the list is not very long. Well, you actually need for digital painting. A lot of the other tools that you'd see in here. For example, text, writing tax at as nothing to do with digital painting. I'm only talking about digital painting in this course and that's what we're gonna do. Let's go ahead and dive into using our brushes and making an illustration from scratch, having a composition and all that stuff, which is really where the important stuff starts at. And I'm looking forward to that in the next lesson. 9. Painting in Krita Software: Okay, Let's have a look here. I'm in their software called Crito, which I've mentioned a few times already. It's a very good free open-source software which you can use on Windows and clinics and I believe Mac as well. So it's cross-platform software. And I can hold down my space key here, much like Photoshop and pan around. The plus key, will zoom in. The minus key was zoom out. I haven't spent a lot of time on the hotkeys here, but I have enough to get me going. Now one recommend something before we get started is to choose a. I'm gonna go to my color wheel over here or color palette if you choose and choose a light gray. And that is usually a better starting point for a background. Then we'll add our new layer where we can start drawing. Let me go to the selection tool. And as I select here, I'll hold down the Shift key. And that'll give us a perfect circle. That again is universal. Most of the softwares behave like that. So I'll choose a base color. I'm going for orange. I'm gonna see if I can get a gold effect out of this. We'll try and make a sphere. And let's go ahead to the paint bucket again and fill in that area there. All right, a little bit slow. It might be using a lot of memory, but let's see what happens. By the way, the first thing you do, I don't know if I've mentioned this already is I usually start if you have a strong computer by making a nice wide canvas like this, obviously your finished product, you never know what is going to be. A nice wide landscape is good when you're practicing so you get a full view, plenty of room to work on. And I'm starting at 8000 by 4000 pixels. That's a little bit of an overkill with 300 PPI, as they call it here, That's pixels per inch. You could also start at 400 by, or for 1000 by 2000 half of what I have here now. But just to give you an idea, it's going to be a very high number of pixels in width and height, so that you can get a lot of detail. If your image is too small, you won't be able to have a lot of detail. So that's very important tip to keep in mind. Okay, So I have a circle now, but I want it to look like a sphere. Let me get into a brush just to play around with the brushes here. And you can see we have a very wide array of brushes in critique with extensive settings. As a matter of fact, this might not be a good beginner software because it's a little daunting of how complicated it is. But for starters, let's have this brush right here and this area is just looks like a regular brush with a regular head. So it's like a, you know, ordinary painting brush. And I can go in here. And if I choose, let me try to choose a lighter color. See if it's working, right, It's, it's working now. Undo, right. Remember I'm going to fumble around just a little bit here because I don't use this precise software every day. This is a demonstration. Now in credit. Instead of having a brush for one hotkey and an eraser for another key, you keep the same brush, but you change it to erase mode. And here's, there's a button for a race mode right up here. It's kind of convenient. But you can also put a, you can toggle a hotkey or key preset. And I haven't set to k. So if I hit K right now, it will pink. And if I hit k again, it will erase using the same brush. So if I were to choose a different brush with some design to it like this one, it has some texture to it. Let me zoom in though you can see this brush has a little bit of texture to it, right? And if I go to erase with k, it will also erase with that texture, just kinda like that. Let me undo all that. So it's using the same brush and you just toggle between erase mood and painting mode. Okay, So, so far so good. We have everything we need, then we get back to that brush and the brush preset. I wanna see, remember we want to change the brush, whereas this one, right? Okay. Get back to painting and I want to have a soft edge. Is this a soft edge? Kinda, not really, but let me see, we have the presets over here. This is like the settings, right? And you can change it in here from default, which is a hard round ball there into a soft round edge, but it's still not soft enough for me. And then there's a lesion where I guess you could write, you can control. I like Asian. I don't know exactly what the word means or where it came from, but whenever I see the word gauge and I gravitate towards that because it always gives me a final results. So I'm going to stick with that occasion. Let me see if I can paint here now. Yeah, now it's looking a little bit softer. I want to go even a little bit more softer. Anagram down real far. Yeah, good. As soft as I can so that the edge is really, really smooth like that, right? Okay, So with that, let's get back to where we were. And let's just imagine what if I was painting a sphere. So I would need loops. And back here, I want to paint with lower opacity and do that. Right? Even lower still. That soft edge, right? Okay, so now the light is coming and it's important to think that the light is coming from which direction I want it to be coming from up here, right? So in that case, light would be hitting this area here and the shape, the dark part will be on the opposite side. So let's undo that and try and slowly paint in closer and closer to that sweet spot where we think that the light should be hitting the ball. And I smooth it out a little bit. Let's try and get it perfect. All right, so now when I choose a darker color, I'll just use a darker value of that same orange color. And zoom out a little bit. And make this brush as big as I can, that's as big as it goes. And kind of bring in my shaded area here. Just like that. Okay. Not too bad. All right. So starting to look a little bit like a ball. So little rough, but that's what we're doing here. We're doing it by hand, we're doing it manually. So it's going to be like that. And then I guess so I mean, it looks good enough for me. It looks like a ball. We could also add the, what they call the reflective light, which has come on this side of the ball. So let me select that color again. Just fumble around a little bit here. Get that orangey color. And the reflective light can be whatever you want it to be. Maybe there's a blue wall behind this thing. It really doesn't matter. A lot of people will say it will, but it really does. It will just make, I just want that reflective like to be little bit lighter than what's there already. So it'll be like this. There could be a blue wall behind it. It could be anything. There's adding a different color of light back there will help to make it look like there's something happening. Now. Control D or Control Shift D to de-select is Control Shift a, okay, that's the same as GIMP actually Control Shift a there. Now my selection is gone and I have just my sphere remaining there. So now I can go under down to the bottom layer, and I'm going to add a new layer in between these two. So in-between these two, I'm planning to add a shadow. And it can be any color so long as it's dark. So if I draw here, you can see it's drawing under this fear, but above our background layer, just like that. So undo that. What I'm gonna do is get it kinda just, just under the ball around here. So you can feel that the shadow is coming in the appropriate place. And in some cases, the shadow might even get more intense as it gets closer. It might depend on the light source right? Now. Just kinda make it look like that. I think that's good enough. Yeah, I'm not going for perfection of this. That's about it. And I think that white area, that reflective light, I exaggerated it a bit, but it's not too bad. Let me see if I have image rotate, whereas it to a mirror image horizontally. Right. So I can flip it like that. Did I have that set to which key? Mirror? It doesn't seem to have a hockey. Okay, I'm not as familiar with this one, but anyway, you get the point. They're using a selection tool, paint bucket, a few brushes, and I didn't have to erase at all and just some layers. And we're able, we're able to make a crude sort of ball here. And that's it. What else could we do with it? I wanted to see in this software, we do not have the Dodge tool, but you can, again, it's all about the brush. So I can stay on this brush that I have now and go to Color Dodge, which I think will work. I don't see a dodge option, but they do have color dodge. And again, the capacity is very low and I make my brush big and get back to that one on the right layer. Yeah. It should work out. It's also including the maybe the background or the area around it. Let me see if I can select it. I'll select everything but the ball, right? And then we'll go select invert selection. And now my ball is selected. Why did that happen? I don't know why that shouldn't be happening, but anyway, that might be good enough for our purposes here because all I'm trying to do is to use this dodge tool and is still set to Color Dodge. I just want to isolate this area here so I can see what happens, right? Look at that, see the color dodge makes, makes things glow like that. So, but it's too strong right now. Let's turn it down. The opacity on that. See what happens here, right? And that will enable us maybe make sort of a very shiny kind of ball. So you can see it has a reflective surface. Now. Hit the wrong key loops back here, right? And over here, since we still have this selected, do I have oh, there's my FlipKey I had said to him, Do I have the color picker? I wish I knew that. Oh, wait, there's a it has, if you hover the mouse here, it says p, Okay, I haven't set to be, so there's my color picker. Let me get this. I went overboard with that. Reflective shadow. Turn off the color dodge, go back to normal addition burn rate, normal painting though now, and see if I can repair some of that area there. It's a little too shiny with that blue reflected light. It'll be like It's not tibet. Could be better. I want it to be round. I can't make the brush and he Beggar, that's kinda set. But it's not too bad either. I got, here's the P. I can select that very quickly. Now, watch this. I'm going to zoom in. See this area here is little lumpy with my color picker. Ready to go. I'm going to get this area right here and your smoothed over a little. And of course my opacity is still very low, so it should work. Okay? And then here's little lumpy, so I'll select a select somewhere in that area and kinda smooth it out up here. There's little lumpy. So I can select that color. And again, just continue to smooth it out a little bit. We'll go down here. Sorry, I keep hitting the wrong key. Smooth it out a little bit and just keep going over it like that until, you know that this is painting. This painting, we're selecting our color and just trying to smooth up. And over here, a term I pass you back up and change, gets smaller. You can see this little area. Again, I'm not super proficient with the software. So this area here got filled in and I don't know why I'm going to hit K to erase that area. Hopefully gets a racing slowly but it's erasing. Is it erasing? Yeah. Well, it's racing everything but that. There's this area filled in maybe. Okay. Um, do you get the idea? Okay. And Control Shift a to undo that. I'm really trying to figure out why that cut filled in over there. The Zoom in right here, you can see right there it gets filled in just a little bit. That's not too bad. Okay? So there we have a sphere. Little sloppy, unfortunately due to that, this one area here. And I hate to be a perfectionist, but I can fix that a little bit. Well, it's a shame that happened. But yeah, I I just as I said, I'm not professional is to little things like that will happen sometimes and it's a learning lesson every time. So that was just a real quick demo with this software critter. Using a lot of tools that we need to use the brush in the selector. And we had some editing to do and some painting to do, to touch it up and smooth it out. That's all part of the process. And so I hope that was useful for you. We will look at one more software before moving on to composition. 10. Painting in Sketchbook: Okay, Let's have a look at the Autodesk Sketchbook, previously known as Sketchbook Pro. And they just changed the name to sketch book and made it a free software. It used to be paid for, but now it's not. This is a very good painting software. It has fewer brushes, but perhaps more settings in some cases than all of the previous softwares. And I've seen some amazing work done in this before. Again, I will be fumbling around a bit here, but just to prove the point that everything we need is available here. I'm going to do, I'm going to do a quick starry sky. We have a gradient paint bucket here I'm going to start with. And so I can just grab an area here, hold Shift to make a perfect gradient. Vertical, vertical, vertical, vertical. And then select it before anything is done, I went to a darker blue for night sky up on the top and on the bottom, I want to color that's not too far from that one. But can I choose it here? Yeah. Okay. Good. I just wanted it to be a bit brighter. So as if right, the sun might be reading some light from somewhere far off in the distance. Okay. And this one can probably go just a little bit darker. Yeah. Okay. Like that. That's good. So that's on one layer over here. Once again, we have layers. I'm going to add another layer. And let's have a look at the brushes over here. This is the good stuff. So I already fiddled with this a little bit. I've two settings over here. These are two settings dialogue, as you can see up here. And what I was using, I believe, which brush was it? Exactly? I don't remember. They have many brushes here, but they all have various settings. The important thing is this looks like a normal brush to me. And so I kinda know that there's more normal brushes up here, something, even maybe even a marker I'm looking for. It is a very common standard brush, right? That one. Okay, so let me get, I'm going to make a starry night. Let me see if I can get maybe yellowish kinda stars, very, very white, very, very whitish like that. Okay. And I don't want pure white, but it's very bright. Okay, so then that's my brush I've selected here. I can even close that one and move this one over. So the basic settings here would be like the size for starters. And let's see if we go to draw our pink right now, right? It all remembered some of my previous settings. So let me see if I can yes, I can reset. Okay, good. And undo, right. Okay. Here's how the brush normally looks and I can make it smaller or bigger. Again, using the bracket keys and its software, which is similar to the other software. So now in advanced settings. Basic settings is just the size and the opacity. But when we go into the advanced settings here, if I want to make a starry night. And this is again, the most beautiful things about digital art is studying these settings. And once you really learn the settings of all the individual brushes, then it can really release your creativity. So let's look at the spacing randomness first. We kind of saw this with the previous brush. So spacing randomness means that as I paint it all those dots, instead of making a continuous line, instead, it will kind of randomly put them randomly space out that circle brush shape that's going out there. And that's pretty good. So I want to, I want to make it much smaller. Remember, the goal here is to make starry night. So that's good. We've got some spacing randomness. And another randomness I would like is maybe the size randomness could be different. Opacity randomness. There's some stars will be stronger and others not so much. And the spacing here, just general spacing in general, that's really getting us where we need to be, right? So we have a combination of spacing and the spacing ramp randomness. And that really gives us a lot of, well, a lot of randomness. And whoops, that I have that all on the same layer. Let me undo that, right? Yeah, I thought I made a new layer for this. Okay. Well, anyway, for the stars, I want to have it on a separate layer. And I'll just push the plus sign. There. There we go. So that's still feels a little yellow to me and I need more spacing between each one, spacing a little bit more. It's in pixels here, so I can get up to seven, right? Like that would be better. Okay? So I'll undo that. I want this, I guess maybe blue is better color and get a lighter up here. And a blue that looks, that looks a little better. Let me just move this over a little bit. And so if I do this now with these settings, yeah, there we go, It's a little bit better. The brush itself, can I make it softer? But had the roundness, right? So here I can go from soft to sharp. I wanted to be a lot softer, right? So you see the edges there. It doesn't look like little spheres. It looks like soft round stars up in the night sky. Okay, so there's settings will probably work. And let me go ahead and undo a couple of steps here. And just go like this. Now, I'll just randomly hit the canvas here in there. You push harder or softer. Here in there, see what happens. Right? Start to get a starry sky. Now, there can be many, many layers of stars. And I could even actually add more layers here. And so that previous layer I made, I'll go ahead and turn the opacity down to, I don't know what 50. Yeah, so that's a little softer now, maybe even more. Put it on 30. And then on this new layer, I'll do it again. Oops, that was the old layer. New layer here. I'll do it again. So now it looks like you have some stars in the background and some closer stars coming up. And you go on like this. And this isn't the only way to do this. I'm sure there's Anja ways to get this done, but there's this 11 quick tip to make sort of a starry night sky. I wonder if we could add some clouds or something around the bottom area. Let's look at what other brushes we have available to us and have to open up this dialogue and this one too. So now there's also, I was noticing there's definitely a lot of good brushes in here. There's this thing that looks like a star. So he does do that, that's helpful. And what I want now is something that has sort of a cloudy misty kind of look to it. So let's have a look right here. These look like textures, the work, this one that it looks stringy. When something misty. It looks spotty. This one that might work. Now that looks at scratchy. Sometimes you can't find the right brush. And there aren't that many brushes. To be honest here. This one is different, right? All different types of brushes here. This experiment like this. And that looks kinda neat. Fan brush, my work. Yeah, If I did that, maybe we could do something. But yeah, I was hoping to find the perfect texture brush that might not happen right now. And I didn't want to spend too much time on this. But let's just go ahead and assume that this one might work. I'll undo a few steps and we get back here. There's a quite a few steps. Okay, I'll redo one of those. Was you do Control Y. So now I'll go back to this. I don't know if it's going to work out. I'm just going to randomly rush around. We'll try one over here whenever there looks like a little cloud, right? And you get to a lighter color. So maybe the top has some colors bouncing off it and change the size around here. A little bit more color around here. Yeah. And the opacity of that put this on another layer. Yes, good. Sharing layer with a new stars. That's okay. We can go back to our settings here. Basic is size, flow strength, and why would they don't have Pasi? There's a lot in here. Standard. So that'll just make stripes, okay? And then opacity, well at least I can turn the opacity down, right, and do little dabs like this that might help. Starts to look a little cloudy. Yeah, that's going to be good enough. So I'm not going to get to know a whole lot more detail. With this, but just to give you a quick idea how playing with the brushes. And this software, much like in any other software, where it was the color picker, that this key, now too many keys. Okay, So and zoom in, zoom out. And this software is very interesting. If you hold down space, this dialog comes up and you can pan around like this, right? Just by not touching the dialogue. But if you go into the dialogue and press onto that magnifying glass, then you can go up to zoom in and down to zoom out like that. And you see our starry night, they're starting to look pretty good. And this one here, I'll have you hold onto that. The up, down left, right. You can do that. The middle, this button here. What is that? I actually don't know. I'll rotate. Oh yeah, there you go. So all of your movement, you're panning, zooming and rotating are all within this one dialogue here. Over here. They also have some very handy quick, quick draw kind of dialogues here. I don't understand what the point of them is. I haven't had enough time. Here. You can select the brush or the pencil that you want to go back and forth. Some tools. There's a ruler and new layer and zoom in and all these things. So it has everything we need. There is we'd have to flip the mirror Canvas, can do that, and the hotkey is not there. But like all of the other softwares, they have preferences here and you can go into hotkeys right here. My experience with this software is that it has the least amount of hotkeys of any other software that I use. And it's, it actually has the least functionality. There is text I see here, but as you can see, this doesn't, you know, it doesn't look like anything very fancy. I can choose a font, Simpson and click. Okay, and there you go, and that's about it. I guess. I'll you can rotate it. Okay. It's not too bad. And that there might be new features added to that. I don't know. But it's not anywhere as sophisticated as Photoshop or GIMP, obviously at first glance. So this is the most basic software, but I highly, highly recommend this free software, even just for fun and play around with the brushes and we have more time. It has some, I've done some really, really good work in this myself. I love the brushes. I love the simplicity of this to dialogue system. Now all of the brushes behave differently and it makes it confusing. So you would have to spend some time understanding how each brush works and what settings each brush have. Every brush has a different set of settings, a different number of settings. It's not like just choose a texture and then change its settings, such as it is in GIMP. It's a, it's actually much more advanced than that. See here, if I click on this, it's called a ballpoint pen. It has size opacity. And then there's all of these settings here. It is the same as the last brush that we use. But this one, I click a marker. It only has size and slant and it doesn't have all of those other options. I click on this brush here. This one does have the Advanced Options. And this one, airbrush only has size and flow without the advanced options. So that's where it gets tricky of knowing which one to use, when to use it, how to use it. And I have made really good clouds before actually using this software. But I don't know off the top my head where all that stuff is. There's also a small selection of these things like splatter for example, which I like a lot. I can get back here. Let me get a pure white and just make it on a new layer. Over here. I'll get rid of that. Hello. There. Can I delete that? Yeah, Everything has these pop-up dialog. So if you put your mouse or your stylus down on something, you get these kinda options like a video game, It's pretty cool. So there's a splatter effect you see. That's very interesting, I like that. And that's about it. There's all different types of shapes you can play with in here. Okay, so that's it for this one. This was sketchbook or previously known as Sketchbook Pro. And that was just some experimenting with the brushes and proving that we can move and pan around, do some painting. We're going to use all of their skills that we've learned thus far and demonstrate this far and go ahead and make a real illustration, probably in a software more familiar with, such as Photoshop. So let's go ahead and start that in the next lesson. 11. Compositions with Values: Okay, so let's have a look at an illustration we're going to work on here. This is basically a sketch that I did. And we're going to start off by looking at some, make sure my interfaces working here, looking at some values. I also want to run over a quick tip. I just run into problems myself with the pressure on the the stylus and the on the, on the tablet, excuse me here. So if you see here I wanted to be like this where if I push soft, I get a thin line is really important to do techniques, drawing techniques like that. And also when you're blending, you want to have control over the thickness of everything. So this wasn't working for me. I didn't know why. And I found that in my Wacom tablet properties, which we have right here, something was wrong with the settings. So it might be because I was playing with it earlier for demonstration purposes, but I had the tip feel all the way down here. And then if you go back, you can see now, no matter what I do, the pressure sensitivity on the tablet isn't really working at all. And that's because of the settings on the tip fuel. So what happens if I put it all the way back to the other side? And now, yet now it's a little crazy. So you're going to push a little bit. It, it's too erratic, right? It goes from super skinny to super thick via zoom in there. So I guess what we want to have is somewhere in the middle. And you can push anywhere when you're in here and see how it behaves with that little bar right there, that little pressure bar here. I'm slowly pushing harder and harder. And that's the whole point of having a tablet will of course obviously it's easier to draw than with a mouse. And so, yeah, that works there better. When I fix that like that. So now I have it working. It should be normal, yes. So you get a little bit thicker, a little bit harder. And there's many reasons that you could use that technique, but mostly it just makes natural drawing. So as you can see here, I had, you know, drawing trees and stuff and there's some thick lines, some thin lines and jaw fast like this, and it just looks better. In the end, if I did all that with one static size, it definitely would not look good. So let's just describe, have looked at this. It's not so easy to make out before add values. And this is called value painting. So value painting, it's basically to say we're painting in black and white. And I wanted you to know that I designed this illustration specifically so that we can learn a lot from it as to how interesting it is. I'm not sure. It's a girl taking a break over here in the shade with you can use your imagination. Is that a pet bird or whatever? I just wanted to add more things to it. So the point is here, we'll have an opportunity to draw an animal, perhaps with some feathers or not. We'll see what happens. We have this here and make that brush a little thicker. With that, we have areas here and here and on her face where we can draw a skin and we're going to pink skin. There's fabric in her will her clothing here is a hat. So we'll do some texture for that. And this area here, I think I'm going to change it. My idea was to have something metallic and there's nothing else here metallic. So maybe she has like a robot leg or something like this and this is in the future. So I'm going to change that might be like a metallic blue kind of leg, something like that. Glass or ceramic bottle over here. Many different things. Over here. On the grand scheme of things, we can see that there is this area over here that is all shaded with some light that'll probably be shining through that opening right there. So it'll be interesting to see how that works. And then over here we have this entire kind of landscape view. So we'll be going off. You can see there's mountains in the foreground here. If you'd like this, and it goes off into the distance and it gets lighter and lighter. Let's see how we deal with that. We have a sky, some objects in the sky, which might be spaceships or something. And we have these moons. So wanna make like there's an alien landscape. They have multiple moons and it'll be interesting to look at hopefully. So I just planned all that out there. And as you can see, the foreground here with a shaded area is actually much darker as things go off into the distance, especially with mountains and landscape scenes. During the day time, things usually get off. They get lighter and more faded as they go into the background. This can depend on visibility, how clear the sky is. But for artistic purposes, especially if you're drawing and painting from the imagination, it just makes life easier if things get lighter and more, less contrast, let's say as they go into the distance. So in the foreground here we have a lot of dark, darks. And I'm going to fill this in more. There's going to be more darker areas around here and here. And when the lights are bright in the foreground area, there'll be very bright, such as you can see a little bit here. Let me put that layer back on. You can already see a little bit here we get to the edges of the trees. I started to use some, some bright whites there. Let me see you. This layer is on. Which layer is that one or this one, right? So I can just choose a color here real quick and make it a bright white. And I could start to paint around this area, right. And as you can as you can see, it's still underneath the black area. So it will feel like the sun is coming from over here and draw that little better. The sun's coming from over in this direction and it'll be shining light on everything this way. We need to know that in the beginning and we need to plan that carefully so that we can know how to make our composition. So when we, and not only a composition, but how the composition works with the light and the shape to get the best kind of results, right? So with the girl over here relaxing when we get to her, some of the parts of her foot here might be well, I can't see it on that layer, but if I go up here, some of the areas of her foot might be getting hit by the sun here and here. And this area here might get hit by the sun. So we'll have a lot of highlights to play with. So I just wanted to introduce that real quick and let's go ahead and do some more value painting. 12. Value Painting: Okay, Let's have a quick look at the value painting here. And I'm not going to use this style for the final result, but it's something I'm working on and a lot of, a lot of professional concept artists. And while digital artists in general, this is the technique that is being used these days. So in digital art, we want to take advantage of whatever we have available to us. In traditional art such as oil painting, you wouldn't be able to do this obviously. But with digital art, you can make a black and white painting like this and then add a layer such as well these two here and come out with results like that with very little work. The whole point of this is that I can focus on my light and shade, right? And it'll add all the details and everything like that. And not have to simultaneously worry about the colors and the hues and everything. Just get all of your values perfect. And the reason for this outside of it, It's not just to be easier per se, but it just makes things better, it makes life better because if your values are good, this is something you'll hear every professional digital artists say, or even just artists in general. It's values, values, values, values, values in addition to layers. That's the other thing. Your layers, layers, layers and also values. It's just really, really important if you want to see whether or not you made a good painting. Put it into a software and turn it black and white and see how good your values are. It's always about the values. Detail is important. Good anatomy and other things in perspective are important, but values cannot stress that enough values are very important. So after we have a good black and white value painting like this, we can do something like a gradient map and that'll take care of almost everything. You can actually do this. I'm not really proficient at this, but you could probably do this whole painting with gradient maps. I'm just going to show you this one map that I made here. And I'm like, I don't have time in the lessons to tell you everything, but normally would go to Layer, new Adjustment Layer, and then Gradient Map that's specific to Photoshop of course. But regardless, now all these softwares have gradient map in GIMP, it might be called something else, I'm not sure. But it's very handy because what we can do here with a gradient map, I have two colours set right now. And what I'm gonna do is I'm going to say all of the darkest colors. I want to change to this left color here, and I'll make that something else to make it obvious, let's make it blue. So now all of the darkest areas and the black and white painting are gonna go blue. And the lightest areas, I'll select the color on the right side here. I'll make it as something more obvious like Cloudera, no, sky blue. Yeah. Like that. And so you see what that does? Let me try a different color to be a bit more realistic. It would normally be in a yellow area or something because the sun is casting a yellow light. And there, that looks good. It's not light enough. I want the whites to be whiter. Yeah. But still maintain a little bit of that color. And so that's that you can do a little trick like that. And that's not beautiful, it's not finished or anything, but it saved us an enormous amount of work. Especially regarding her skin and hands and stuff. So as I had this before, to make it a bit more realistic, obviously would do something in the red zone like that, because people are usually a bit more reddish orange color. You can choose where you want it to be. And I think that right there is good enough. And then I just added another layer here where I added some color for her. Well, I have those weird blues that I added for her eyes. I did that on purpose. Her eyes and the necklace and the dragon, they have that strong blue. And on this layer, what I did is I changed the blending mode over here to color, and we can change this to all different types of things. See as I move up and down the list, if I put it on dark and then it paints it like that. If I put it on multiply, it does it like that? Here's Color Burn. Some of these are weird. But you can have fun with this too. And you might say, oh, you know what? I didn't even realize that would look good like that. And it might give you a new idea. It might, as they say, Have a happy accident. You might stumble upon something that looks really cool. But all I did was to start with, I put it on the color mode, right? So this is called a blending mode. So you put a new layer over top of your other layers and change the blending mode, then you can paint over top as I did here. So I have the opacity down. If we turn all the way up, let me show you this is what the actual painting looks like. So there's just this kind of brownish color and there is my Pasiphae up. Yeah, me check that. You have this brownish kind of color and then paint the spots in a little bit. And this here, let me see. I wanted to, I can turn the opacity down on that. Also. I wanted to get this blue. Did I do I select Diet, passed city is a kind of broke it. And I came over here and let's go back down. Yeah, it's supposed to be your necklace. This was just an experiment anyway. This illustration is already finished. I posted online, I'm done with it. It's you know, that it is what it is. I just brought this back up because I had this one as a good example of a finished value painting like this. And when you finish doing your value painting to see how you can play with these blending modes and start to paint it and change this to the color blending mode. Or there's another one called Multiply, which works out pretty good. And multiply, it looks a little weird right now. I didn't design it for that for that type of look, so I'll leave it on color. And that looks I mean, it's not finished and that there's more to be done. But look at how quick and how easy it was. The values stay the same or lightened. Our shade is where it needs to be. And then I could flatten those layers and continue and proceed to paint over top of that. That saves us a lot of time. But more importantly, it helps us to make sure that all of our values all over lightened our shader perfect before we go into color. So this is a really good tip technique. I'm not necessarily teaching it and the rest of this course, but I just wanted to demonstrate that real quick because if you want to know digital painting, you should know this technique and you should practice it as you can. It's just said it's much more difficult and I don't feel it. So I mean, truly qualified to two, as you can see here, to demonstrate that and it takes a while to finish it too. So let's go ahead in the next lesson, we're gonna go back to my regular technique. And I just wanted to show you oh yeah, with this one. So instead of finishing this one, Let's go ahead to the regular technique. But I will show you, I will demonstrate this one using not the value painting technique. We'll go back to the regular technique and we'll see in the next lesson and we'll go ahead and start that. 13. Base Painting: Okay, so that's bringing it back to Photoshop here. I did this drawing in GIMP, but I decided to. I did the drawing again. I prefer drawing and there's some things about Photoshop that I don't like when it comes to drawing, but I like painting in Photoshop now. It's just, well, I mean, they're both good. But I don't want to deal with any of the bugs are hassle of GIMP. It is a free software. They update and change things a lot. And I'd rather just do this right now. So I'm going to go ahead and use Photoshop. I've been using it more frequently or recently in a more comfortable with it. So let's go ahead and start working here. And that the value demonstration, which I did there, I think that's still stands as good. But the question, there's two questions. One is, can you make a black and white kind of a painting even to even if you want to. Is that easier? I'm not a 100 percent sure about that. But I can tell you that I know that you can choose a color like I'm doing right now and start to fill things in like such. This is pretty basic and we're going to use a hard a tip brush here on pressure size. We're just going to start painting this in. So what I'm gonna do here is I'm just going to ramble on while I'm doing this. It shouldn't take too long. And I'm gonna make all the base kind of colors for this, right? So we'll do a little bit of work. You get a little bit of knowledge. This is, and you get to watch the demonstration from scratch. I didn't want to make a course where I have all this prepared materials and I mean, this is always how I do it. First, I have some prepared materials, I do that, I have to prepare. And then we do some demonstration. Because only with a demonstration, I feel are you really getting some good value? Why would you want to join a course? Whoops, wrong layer. Why would you want to participate in a course where somebody just tells you to go do something or just read a book, take this info and just go do it. Well, I mean, it's not very helpful. So do a bit of demonstration here and you can see how I do it. That'll add some confidence to your work too, I hope. And there is a million and one little tips that we're going to go through as we go through this. As a matter of fact, I'm thinking of one right now. And while we're still on a topic, let's not forget about value painting at all. We're not going to forget about that. We're just going to apply our values differently. We're going to start off with a base color like this. And that was kinda obvious. If I select a green area, let me start off with some tips right here. If we look over in the color dark here or the color palette or color wheel as you choose to call it. We noticed that the colors fade, right? This is like a rainbow. And this is how, this is the spectrum that human eyes can see colors in. So it's almost hard to say sometimes what exactly is green? And you'll often see people arguing about is that red or is it orange? Right? And a lot of people will disagree. Well, if you look down here, red and orange are very close to each other and there's good reason to disagree. Red and orange, we'll orange is basically the space, the gradient space somewhere between a yellow and a red. And it's a little easy to get confused. And then some people you might say they're colorblind, but actually they're probably not colorblind. It's just that it's not so easy to distinguish one color from another if you don't see it next to it, if I see a red next to an orange, then I can say, okay, that's red, that's orange. But if everything in the room is blue, It's almost like an optical illusion. Everything in the room is blue and I just put an orange there. The orange might look incredibly read in comparison to all of the blue. It gets a little hard to say. So There's that to keep in mind with your colors while we're on that topic. What I chose over here to use for a green, not just because it's a shaded Eric area, but because we're doing keeping in mind the values, obviously, if I choose something that this would be the highest saturation, that's what we call that the strongest part right there, this green right here. Obviously that's not a normal looking tree, right? What happens in reality is that we have values just like we were just studying a moment ago. And so you want to bring your values down at someplace normal. Usually dead center is a good place to start, like right there. But I decided to, as you can see with me, I pushed it how far it's over here a little bit. Just so just so I can get some stronger color. And what that was my decision. So not all the way up, not all the way down. And maybe over, you can make a choice. And now another thing with the trees, obviously tree is green and grass is green. But if you look at a really good painting, you're going to see all kinds of colors going on in there. Because even if two trees are exactly the same tree, they might have different colors. One of them might be stronger, might have, one of them might get watered better, right? So right here I'm gonna go little bit down towards the yellow. Move this up a little bit. And I get a slightly different kind of green right there for this tree. This tree we zoom in. It's just behind the other tree. And you can see I'm completely ignoring branches. I'm just going over. The only thing I'm worried about right now is trees and the leaves. I'm filling in some green. That's good. And they're just going to spot back here. Maybe instead of going down on the scale being will go up little and even make it darker. Let's go maybe a little shady back there. I can use that to fill in this spot here. Here it looks like there's different different things going on. Maybe I can get a little bit darker so it'll get more shaded down there. All right, this isn't too hard or something like that. The idea is just make sure you mix up your colors a little bit, or actually mix them up a lot, the more you have time to do, the more variance you have, the better it will be. This one up here. I'm gonna just a little bit more. Yellowy. And yellow, by the way, is a very, very common. If you see this, green is getting very, very close to the yellow area there. That is incredibly common. If you really take the time to look at wildlife and trees and stuff, there is a lot of yellowness. It could mean that the leaves are a little dry. Uh, you know, maybe or it could be a different breed of treat. Not every tree and every blade of grass is some kind of luxurious shade of perfect green. It's all, it's all variant. So variant. While I'm doing this, I'm thinking about the space between the front and the back. So this part here, whoops, wrong one. Separate, that there, this is obviously separate. So it make it a little more yellow. And that area and this one up here, I wanted to since it's closer to us, I went that one to get a little bit brighter with shinier little patch of grass right there. And she's resting her arm on it. And I want it to pop out a little bit, maybe get a little bit brighter. There we have, you can see with just that much work, we have a very nice patchy area of what it already starts to look like foliage just like with that one little trick of watching your yellows and greens and going up little and down a little in the values, in a little lighter, a little darker here. And already we've got that. So I'm going to make another layer underneath that. And all of this earthy area would go down, choose the orange, reddish area, and come down. And that makes brown. There's no color on the color wheel. That looks like brown. The color brown is basically orange, but a darker shade of orange. That's all that brown is. So that's another Magical Mystery of colors. When people talk about colors, we talk about something like idea here. A lot of people who aren't very scientific about color, though say there's this big magic difference between a sky blue or teal or this or that. I don't listen to any of that. What I do is I look at this color wheel and I realized that there's only so many hues of color. And you can make them darker or lighter in value. So we need value and we need hue is all, that's, all you need is you need a value and you need a hue. So you see, since I put this layer behind the other layer, if I turn off the greens now, the brown is underneath it. So in a moment I can just merge it down and there'll be together. I just saw it be easier that way. I don't have to paint the brown to make sure it goes all around here and there. And I can zoom in. It's good to zoom in. Just make sure everything is colored in well enough. And then for the branches, I think we can finish this entire area here. This is a sketch layer. Let's turn it off, see that it's already starting to look a little bit natural. And if we have the sketch layer on, we can lower the opacity a little bit like this. The little bit of a feeling of how that is. Now what we just did with the I do want to turn that down a little bit. Just a little bit. Okay. Well, we just did with the trees how we had a little bit of variance. I want to do the same exact thing with the earthy tones, such as the branches and. Got you can have very light branches, very dark branches. This tree here. Is that what I want? Exactly? I'm feeling like it should be. Yeah, maybe that's a little bit more natural. And I might be doing this very fast. Keep in mind, I've been doing this for many years. If you want to take your time and get a photo and make sure that you're choosing what looks like a good color for you. You know, you can look at a tree branch, the bark of a tree, or we're just search for a photo, some free photos obviously, all over the internet. This drawing of this branch area is a little sloppy, but I'm not too worried about that. There's a different tree popping out this side, so that's definitely going to have a different color and make that one dark like this. Just like that. And I think that's a full branch right here. Here. It's a excuse me, my drawing, this little sketchy yeah. Pops out like that. That was a tree that is popping out sideways behind this tree. Now I can see it. Okay? So the things we've learned in this lesson, which were of key value is that we're just putting down a base color. We do keep in mind the difference of values, right? I did make things a little bit darker in that area there because I think it'd be shade here. It's further back. And in the foreground. Oh, excuse me. I didn't mean to say the foreground, but both in the foreground and the background, all of these objects should be, have a lot of variation to him. So this entire Earth, the area right here, I'm gonna go back there and I still have it on a separate layer. I'm gonna find some letters spots here. And I'm just increasing the size of my brush. Actually, I feel like this part on the top should be lighter later still, now they're in the shade anyway. So omega to light. And on the edges here, I guess if that's this could also be like, but this one, I also thought, yeah, let's make that a rock because we don't have a rock, definitely. So rocks usually are a bit more gray. This is definitely a rock coming out of the side here. She's leaning on a rock and it just happens to have for a moment, I thought that was a mound of dirt. But let's say it's a rock and it comes out over the side here a little bit. And the dirt kinda covers it up like that. Yeah. Because we don't have any other rocks. And then we can learn how to paint rocks better too. So back to the dirt here over this, a little bit darker and a little bit redder if you ever see on National Geographic or any kind of archaeology. And you look at, I'm like a C-section where they cut away the earth. Or if you look at the side of a cliff, you can see these rings in the earth, right? And what it means is like the older you go back in time and you have different rings here. And they're all different colors. So I don't wanna get too strange with it, but I want to have definitely some different colors. Maybe this one's a little bit more red. It's a little too red. But I do want that red. Red is good. Remember I keep saying like or one thing I haven't said it yet, the more colors, the merrier. What I've said thus far, I did say I have a lot of variance. But what I really wanna say is the more colors the merrier. And that's another reason I'm not using a value painting for everything now cuz it's it's, well, it's time consuming, laborious in comparison to what I'm doing here. Okay. So with just that much work, I don't know how much time we've spent, but we have all of this tree area pretty much done and we can add a lot more detail to that, but this is all that we need as a first step. I'm going to go ahead and continue off camera with the background. But before I do that, we'll choose a nice blue is the sky blue gradient. And I'll just go like this. That makes the sky and do that. Because if you look at an actual skyline and we might change the color of the sky, I don't know. But if you actually look next time, it'll be this guy. If you haven't noticed it before. The closest part to the horizon is usually lighter because the sun is reflecting or some type of phenomenon like that. So just get a gradient tool and pull it down so the sky blue is up top and it makes a gradient towards a whiteness at the horizon. Just like that. And I want it to be much brighter. I wanted to contrast this area here where we're in the shade. So I'm gonna make that a little bit brighter. Okay. Right. And then off of the camera here, I'm going to finish just doing the girl and the bird. And the same way that I did that. And also just the mountains back here. So I didn't want to spend too much time. There isn't much more than I have to say. I'm going to use the same phenomenon here where I mix up different colors as much as I can. And we're going to make it fade off white into the background. But that's, there's nothing special about that. And we'll talk about that in the next lesson anyway. So I'll see you soon in the next lesson. 14. Making Layers: Okay, Let's have a quick look at what I did here. First of all, if I can move this layer is the sketch layer. And I turn the opacity down a little bit. Just a moment ago. This actually looks darker and thicker in Photoshop than it did in GIMP. Not quite sure if that's true, if or if I'm just seeing it that way. But regardless, we're going to turn the opacity down here later anyway. And I just wanted to show you the separate layers I did is only two, I believe. So. When we last left off, it looked kinda like this. I just added that a little bit of yellow color. I'm not sure what I wanted to do with that sort of bottle or vase there yet. But I just added that. And then I added the hills in the back here. And you can see here, I applied the same type of theory, albeit sloppily. Here I added as many different colors that I could have some patchiness with the dirt. I could even go out. It would probably be good to do more, but we're definitely going to add a lot more detail later. We haven't gotten to the detail phase yet. But one thing you can see is that as the colors, I'm going to try and focus on this color palette over here while I select some colors. This one, if you can see it's still green but it's going more towards blue. And then as I Which one is that? Yeah. And then this one here, it's still kind of getting closer to blue, but a little bit lighter in this area here, right? And that was the second mound of hills. Now as we go to the loo this in layers like we have a get a very obvious pen out here. See we have this, this, this first round of hills and then there's a second round, then as a third round and often dispensers at final round there. So if we look at it and I don't know, we'll call it rose or rounds or layers or whatever, but that's all on one layer technically. And I just want to show you that the very first, there's like a tree here too, that's also on that layer. Let me flash that often on real quick, right? So the very first tree here is what I'd call more saturated and very green guy right here. You look over here. We see that it's in this very, it's right in the middle, right between yellow and blue. And then when I go to the next round, it goes up a little bit towards the blue. And then the next round, it didn't go up for that one, but it did get lighter. And then the next round, it went up a little bit closer. And then finally, the last round we're almost into the blue sky area. And it's also very high up towards the light. So that was all done intentionally. And that is a really good example of how you can get some distance in mountainous areas or in any kind of areas. One thing is the greens always seem to fade off into a bluish color. They say. Some people say that colors lose their orange as it gets further away. And I've heard all of these different scientific things. Well, I think after many, many years of thinking about this, and I'm not sure if I can prove it. But it makes sense to me that because the sky is blue, that's kinda of the atmosphere that we live in. The sky that we live in is like the water that fish live in. And for us, this, this area, if we go into outer space, it's all black, right? And you see stars out there like you see at nighttime. When the datetime we get this blue atmosphere. That is, that's full of some particles and stuff. There's a Misenus to the air that we live in. So we can't see all the things that are traveling in the air like gases and, and this and that. But if you look at a busy city that has pollution, it gets a little cloudy, little mistake because there's more particles, right? It gets soupy. And if you look at a foggy day, you can see that the air is thick and super. Well, let's imagine that every day has a little bit of mist in it. And the missingness that comes from the blue sky. The sky that we live in, we breathe this air. So I think as things get further away, it's getting obstruct obstructed more and more by that missed. Just like when you look further into a fog, you can't see things as clearly either. See the whiteness of the fog. Well during the day, as things get further away, you just see the blueness of the sky. And that's how I like to think of it. It's one way of thinking of that. And so I also, I could apply that also to these, the roundness, but for the brown, I just played with a saturation. So here it's, it's, it's more highly saturated. And then as you go into the distance, it gets lighter and it's less saturated. So whichever way you look at it, whichever way you look at it, just let the colors get lighter and let things get a little bit more bluer or what have you had a red sky, there was a sunset. Maybe things should get a bit more red as they go into the distance. And people that stuff in mind. And there's different ways you can go about it. I don't, I don't think there's any perfect science for it. I've heard various theories, but something to keep in mind. Now for the girl up front here, very, very basic. They gave her some pink clothes and the skin color is very important. As I always want to emphasize, we get this color between yellow and red, it's orange. Now, if you take out photos of your friends or celebrities or whoever, you should always get a color that's somewhere near there. Now some photos they play with, the contrast is too high or too low. It might come up a little bit darker, a little bit lighter. But most people are in this orangey kind of area. And then you just bring it up here to get for a white person. This is obviously a white girl. You use a color that's a little bit higher in the value zone there. And we'd have a darker skinned person. Don't change the color at all, keep that same color. And you just come in here and you could apply sort of a brown skin like this. And if they were darker still, and you just go more down here. But don't change the color. It's always going to be orange. So we've got variations of brown and black. But nothing, obviously not pitch black. And everyone has that redness to them. So nothing, nothing to yellow and nothing to read. Let's undo some of that. And then in this lesson we're also going to see what do we do next. So let's get this pink color here on a girl. Now that I've turned the opacity down and you turn it down even a little bit more. And I don't really like these empty spaces in there, right? I'm on the wrong layer. This layer, I do want to turn the opacity down more and get this layer right. Okay? So what happened is because these lines, these black lines, that they're a bit too thick. I wish they were thinner, but we got what we got. And we'll just go in here and clean this up a little bit. And this happens. So I wanted to actually, I could have done this and not spoke about it, but then you would go and you try to do it yourself and you say, Well, how come, you know, mine didn't work out perfectly because I wanted to show you that this is why, because sometimes there's thick black lines, so there and it's not important really. It's honestly like it's not a big deal. But we just lower the resolution. And you went do this before. We do anything else. Just to kinda like summarize real quick. What we're doing here is we're going to have this base color. And then we're going to add the light in the shade. And you saw some of that in a previous lesson already, where we were looking at the female portrait that I did. And we're basically going to apply that and a little bit more because we're doing painting. So it's basically about following some of these rules, learning some things along the way about how to use the right colors and stuff. And we're gonna do a little bit more with the value stuff, right? So you can learn more about how values we're gonna do that actually, right, right now, very, very soon. I'm just gonna clean this up a little bit. I just wanted to show you how I'm doing this. It's actually quite simple. Okay, So that's about it there. It looks pretty clean. Okay, so now I'll go back here. And let's look at this sketch. First of all, I'll put it back to full capacity and I'm gonna make a backup of it. So go copy paste. Just make sure I'll turn this one on here. I still have that. And all I'm gonna do is move that out of the way behind the bottom most layer so we don't see it. Sahni of the backup of that. And here for this one, I'm going to cut this girl out because she is one of the three layers that I have here. I always put my characters on a separate layer. And the reason for that is because they are very, very important. I'm going to go here to the. It depends on the software you're using, but they all have some kind of selection tools, right? So I'm gonna go in here and uses Polygon Tool is pretty good in Photoshop. And again, don't worry at all about getting this super perfect. But just try to get the basic shape of only her. And we will just erase that there's too much extra lines. Unfortunately, with this polygon tool is not a favorite of mine. This is one of those situations where I do wish I was back in GIMP, but I'm not going to go all the way back to give just for this. So I'll just be slow and careful. I can't find a good tool to do this in. This is not too bad. How much? With all the talking I'm doing here too, is just like one minute of work. Maybe it's not the end of the world that hit Enter. Got it. Okay. I'm going to cut that out, paste it back in place. Now I could even hide this entire layer and not have to worry about that for a while and we'll just start cleaning up here. There's going to be some stuff that I know I absolutely don't need. And what I do want to keep. If you think about this logically, I want to keep the lines that show me kinda where things are. So for example, right now here's a suggestion about how refer hand is. I didn't even again, it's a waste of time. It's just a waste of time to draw certain things out in the hands. You want to get really good people, people will notice of hands don't look realistic. So it's a waste of time to draw it out perfectly. You just gonna have to fix it later anyway with this process. Even if I was doing value painting style, which I decided to swap out for this style, for this lesson. Even if I was doing that, I, I would still draw first. And again, most of the artists who I respect and make really great work, they, they all seem to do that and make a nice drawing. First, you can make a sketch. The better your drawing, probably the better the product for the course of your digital painting career. Okay, so I'm going to bring that back down. A character, if you can guess it, we're going to merge her down. But we don't need any of those black lines unless they have information that I need. So what do I need here? I do want to keep her eyes and her face there. The hat. Not so much these lines here. All right. I'll leave a little bit of this here. Little sloppy and we can erase it later too. It's not, it's not the end of the world. This can all be a little bit sloppy. This side of our hand. Don't really need it. Less the better. The creases in her outfit here are worth keeping. I don't need this particular line, nor do I need that one little piece at a time. It's just less stuff to clean up later. And over here, these lines I definitely want to keep that can remove some of the top layer where the light would be hitting. Little bit, little bit cleaner over here. And like that. So okay. I like that. So just with that now, I can go ahead and with confidence. I can take this layer, see if you hide it. That's what you really want to notice here. When I hide that layer, that would be hard to keep painting on all of those little lines that kind of showed me where are the eyes and whereas the creases and in her fabric and everything, this I can paint, this has features and details enough for me to see where everything is there. You take that away. I can't even tell where is the skirt beginning, the space between her legs and how the fabric folds around there. And I just noticed a couple of spots here. This one. Yeah. Not the end of the world if there's her empty. But anyway, so with this, I'm happy and I can go ahead and right-click on it again. Just about every software has this and merge it down. And now all of that we can see here, when I hide this one layer, all of that is on the move that over correctly. What I hide it, That's all on one layer. And even if you looked at it now, Do we need all the other details for the other stuff? Maybe yes, maybe no. I like all those leafy tree details. So I just, I'm gonna go ahead and do the same thing is going to be really, really easy to turn down the opacity. And just, there's only two more layers. So I'm gonna do the same thing for this layer and then for the bottom layer with the hills. And just leave a little bit of the detail here and there when I need it. And so I'll do that off the camera here because there's nothing really more to add about that, nothing of interest. And then in the next lesson, and we'll see where we go next after that. See you soon. 15. Light and Shade: Let's have a look at what did we were looking at here? I mean, there's Oberlin Okay. Little space. And I won't go any smaller. Okay. So we have the female character with the bird. And we have the cliff on this layer. And we have what I call the hills on the back layer. And we have this guy. Now, having come this far. I want to emphasize how important that is. In this particular case, it's so important, particularly because let me get my red pen out here. And a new layer. This area here is far off in the background, and this area here is very close to us in the foreground. Now, the character, I don't really care if she is at the same distance. I'm not going to merge her with the cliff here. I always want characters on a completely separate layer. And the reason for that is because characters are so important. I think I said this already, but I just want to emphasize some people are going to look at the characters alive. The first thing that your eyes will gravitate towards. And so you really want them on a separate layer. You can always blend them in later using various techniques. We'll look at that. But most importantly, just make sure that all of your characters on separate layers, even if they're in the background or something, I want all the characters to be separate. And also as many objects as we can keep separate. And there's so many reasons for it. The way that you apply lighting and shade and being able to isolate things is really important. Now with this here, this cliff area, I just want to say you get rid of the female character there. We're going to, It would be nice if these were separate two, but there's so many different layers to it that I'm just going to go about it in a different way. And that's part of this lesson. I'll show you how I did that. We had to make a layer for each and every one of these bushes and trees. While you start to think, don't you start to think, well, I don't know. We're gonna make a layer for each leaf of the tree. And where do you draw the line? I think the important thing is for artistic purposes that we have the background separated so that, you know, the character will pop out a little bit. Backgrounds or backgrounds. They don't always have to be perfect. Characters are more important than the background. And then if we have time, we will go into detail onto the background. That's always up to you. But separating each and every tree and leaf. I just think if you've got if you have to work that hard, is it even worth it? I have a lot of arguments for that. I just don't think it's a good idea. I'm not the one who always agrees with having so many layers. And a lot of the artists I look at a, seem to agree with me that, you know, the computer do value paintings. They'll just do value painting and then they'll have a few different layers for color. And that's it. But do separate the background. And the sky for me is always important. Now I want to say why. There's some of this. Let's say if I go get my favorite cloud thing here, and we want to make a misty effect down here. So I'll put on this very big. Right. So later on I want to say there's some mist down there and separate that whole background from this foreground cliff. Well, I could do that easily and go right behind, right behind that cliff layer and go like that, right? And turn the opacity down or something and you have some missed. So all that stuff is behind the foreground because we separated it. Likewise, later on, if I'm going to draw some stars or something, look at that, see how I can go behind the trees and everything without worrying about the trees. I can paint back there and make stars or spaceships or moons or whatever. And not have to worry about whether or not it's going to interfere with the foreground. So there's things become very important when you start doing things like drawn clouds and background objects and stuff. It's just useful. And even this is not a lot of work. It's just three layers or four layers. If you include the sky layer in the background, I did not draw the moon's. I just have these lines. They're, remember where I want them to go. And I choose to use, in this case, a selection tool. And I'm going to circle selection. So don't have to worry about the line tool. It's over complicated. And I'll grab somewhere about here and make a new layer should be behind a, put it back here just above the sky, and fill that in with the same bucket. And that's all. Now I'm going to lower the opacity on both of those. Very, very low and just have them, they're in a background as a reminder. So I can go back to my hills here and take that selection away and erase. These lines were just there as a reminder. Basically, that's what they're therefore zoom in here. Am I on the right layer or this now this cliff as some dusty stuff going on, right? Good. And I'll leave, there's little dots there. Those are going to be airplanes or spaceships or whatever they are. There's a little dot there at that. This is a really good time to clean up because later on the Canvas might get very busy. As you can see, it's sloppy down here. And I like that. I want more colors and when sloppiness it's rolling hills and all this and that. But I don't want those white spots. So go back to a soft brush or no hard brush, round size. Just clean up a little bit here. So that's there. And then we're done. That's it. We're not, I mean, we're not done the illustration, but we're done with that. We're ready to move forward with the lightened shade. So I'm going what I'm going to do, I decided, is you have to choose one place. It's very important to start with. You're going to get into your lightened shade and details and all this. Sometimes you might want to start with your character. Other times you might want to start with a background. In this case, the far-off background back here is definitely not as important. I wanted to start off with some place that is, it's going to be a focal point. So I'm gonna do these trees first because I feel it so that they dominate the environment over here. And the character. Her lighting and shading will be dependent upon the environment that she's in, right? It's very important to understand that your character is a part of the environment. That's why, once again, it's good to draw your entire image out, your entire idea out. So you can think about these things. A lot of people make the mistake of drawing characters and they think they'll just fill it in some random background later. But the character is the environment in a part of what is very important lesson, you have to think of your character as being something in an environment. And I've always realized that I have a much higher appreciation for a good character drawing done with a good environment. I don't like to see characters just sitting in empty space. If it's a concept sketch for a game or a movie, I understand. But it just so much better when they're done in an environment. Because the environment can completely change everything that you think and feel about the character. So let's go ahead to our cliff layer here. It's very sloppy, right? There's stuff in here. I left a bunch of lines in here. Not really a big deal. You know that none of this matters. When we get to the leaves, we're going to want it to pop out like this as leaves too. And we'll find a leaf brush or something like that. But first let's just get some type of lightened shade in there. And I don't care at all about those lines because they are useful. They, we can use them later. So we're gonna do it in a very dark blue. I might even put it on this a drawable layer here. This layer is not being used, okay, so put it up here. And I have very dark blue. Is that going to be the right blue? Which we can often find it is very useful for shade. And as I said earlier already, and then get kind of a sunny yellow, very, very bright yellow, even lighter than that. You'll think that it's almost white, but kinda eggshell white. And same thing goes with the blue. I want it to be very dark. Now, you can get different effects by using this. If you look very closely. If I go over here, this sort of dark blue with less saturation as less color saturation is more black. Or you have this more dense kind of It's a strong blue but it's also dark. I don't know which one of these to recommend and I don't really have an opinion on it, but I do know that I always go for more color. And you'll keep hearing me say that over and over again. More colors better. So let's go with that. I'm going to take my yellow here and go back to the cliff area and add a layer. And you can call it something like, like I go here and you start painting with light. Now. With this, again, you can make a personal decision. I'm going to go with a soft pressure. Actually, yeah, that's definitely definitely the wise decision. And I start painting like this. And I'm not going to lower the opacity on the on what do you call it the brush. I am going to lower the opacity on the layer like this. That way. All of my lighting, all of my highlights over here or at the exact same opacity. So I'm painting this yellow is harsher as I can on a 100 percent opacity. Whoops, actually, I was at 96. I'm going over here and thinking, where's the light? Look at how quickly that starts to pop. These areas here. And be careful, I don't wanna get too sharp with this. But I do want to apply a little bit because if a surface is reflective, it's shiny, it'll give off more of the light. So the leaves of trees or a kinda glossy a little bit and they can shine off a lot of that light. But over here we'd like rocks and stones. Not so much that we'll put some dashes here in there. I don't want to not put any light there and put something. Remember, we're not working on a girl right now. And it could be hidden Iraq right around here. Rocks. Good, like this, up, down. Be some lights like this. Gravity has been pulled down on the rock. But thousands of years. And the wind is blowing it left and right. Water drips down and carves. Shape, gravity shape out of the rock, right? I'm completely exaggerating this. I didn't wait you much, but the things I'm saying there are important. So I'm actually going to erase a bunch of that. Now. I'm going to get a another layer. This one is shade. Do exactly the same thing. Again, the opacity of the layer goes down, but do not change the opacity of the brush. Let's add. Can't really see it a little bit better like that. Yeah. But we don't have to cover up everything that's in the shade. We're making dark spots here. Don't have to be perfect, nothing to be nervous about doing some shade. And sometimes all of this will get shaded in an altogether. I accidentally went over one of my other spots there. That's a no, no. There's a tip. Do not do not make any shade over any of your highlights. And I'm going to carving out if you have something that's behind something else, I fill it all in a little bit in the distance. Things in the foreground can still be receiving light is bouncing off of the ground or anywhere else. An area like this, I can fill it all in. The entire branches, get get cheated in with it. And we have it all on a separate layer so it doesn't look right. We can come back and kind of erase some things in touch up later. There will be a point where you gotta be careful with your decisions. But everything we've done thus far, I feel content to be completely sloppy about this. Okay, I think we're in good shape. This rock, I haven't figured out exactly what its shape is yet. It looks like a tree trunk. We'll figure it out. And so if you look at the shape of the cliff, it kinda comes in and it comes out around here. So this part should be coming in and kinda getting some shade. And in between some of these areas here. Because these are lines of layers and layers of Earth. So it should have some Mandy kinda look to it. So draw a line or two here and there. Over here. This one's coming in a little. So there could be some. Stuff with the girls and the different layers so I can draw it behind her. Again. I can't emphasize that enough. How convenient that is. Not to mention she'll be making a cache shadow, but I'm not worried about that just yet. I'm just worried about where the sun is hitting things and where it's not hitting things. We'd like this now it's starting to look like you can see the shape of things as part of get darker to flip the canvas little. Yeah. Yes. Okay, Good. See, now you might look at this and you're in a middle stage or you're new and you're like, I don't know, it doesn't look good and you're right. It doesn't look good because it's not finished, right? It's very far from finished, but we have an amazing foundation here with just those tricks. And if you want to play around a little bit, something you can do is grab that shade layer, turn the opacity all the way back up and go to this blending mode here. And as we did before, in kinda mess around, look at the different spots. How do they behave? Might give you some inspiration. You can choose to change the whole layer. The color. I'm going to leave it as it wasn't normal for now. Actually a better idea, let me try this overlay. Overlay might work really good. I use overlay in GIMP a lot and we do the same with this one, the light layer with that. And that looks soft. And we can, we're going to flatten that and paint over it anyway. It's just giving us some shape and some form. Was gonna say I go back to the shade layer, Let's say it was not an overlay, go to normal. And in the normal mode here, I can go to image in a software brightness contrast. And I can bring the brightness all the way down, which will make it blacker. So maybe you decided, sorry, let me move that a potassium. Let me go back to steps actually. Yeah. Maybe it looks too blue, right? And it's a little soft. So you go and if somebody Image adjustments, you can change. There's various ways to go about you change hue saturation is one of my favorite. Here. You can change the lightness and make it more black. Or you can leave the lightness where it was an add more blue or less blue with a saturation. Or you can even change the color to green. Here's yellow and everything red, right? So I'm not gonna do that and leave it where it was because I believe this is a good technique. And I'm just gonna go ahead and reduce that. I do like this overlay. That looks a little bit more professional. Yeah. I kinda like that. So leave it like that. And I might play with it a little bit more myself. But that's all I'm going to do. I didn't want you to miss out on any lessons or tips or anything. If I play with this more, I'm just going to play with the colors and the light. And I'm going to continue to do that. And then I'm going to do the same thing for the background and for the female. I will come back for the female because she's very important. But I'm just going to work on this a little bit more and I'll see you in the next lesson. 16. Painting with Detail: Okay. Diving right back in. I haven't done anything. I was planning to clean up a little bit. I had a look at this and I think I think we're good to go. I did erase some shade area that I broke my own rule. Some shade area such as here that is covering up but do not mix your highlights with your, your shape because that's impossible in reality, of course. So anywhere that there's highlight from the yellow, did not mix that right here. Is that okay? Yeah. Just don't don't mix those. But one thing from a previous lesson, I said I was going to dive into real quick. I wanted to show you something here. Let me get rid of these. Don't need those anymore. I have this. I added a layer. This is also an adjustment layer. When you go into in Photoshop, you to image. Not just is it adjustments, know, Layer, New Adjustment layer, and then add, this one is hue saturation. And if you add that layer, then you'll get this black and white version, of course, put on top of everything. If I were to put the character up top here and she'll pop out. That's an interesting trick, which you could use for a later date. But for now, let's just keep everything back there. And we were talking about values earlier. And we're, Here's where we can test our values while we're painting. And as a part of the reason that I don't really care about doing value painting like that. I find it easier to do it this way. I think this is the way to go. And I think that we can always go back and check our values and we can do it like this. So I keep that one up there. And right now, I mean, I can tell you right now, I know that the there's not a strong enough highlight from the yellow that we added, but I'd knew that already and we're going to deal with that later. It's all part of the process I'm working on here. And you would have to do a lot of this anyway. So one thing I noticed is that these colors might be oversaturated to if you notice the same thing. I wanted to tell you to rest assured I know that because what we'll do later if need be, we'll go again into image and adjustment and hue saturation. So if the colors seem too cartoony, too bright, we can always go into here and lower the saturation. See we can make it black and white like that. Race back to where it was. This is what I mean by too much saturation. That's way too high. That's beyond comic book, Beyond cartoon. And actually this is a very good place to go. Because if you ever wondering, is it too dull or is it too vivid, come into here and play with this saturation dialogue and have a look. I feel as though it isn't a little too high. Actually, I do wanna bring it down a little bit, just about there. Feels a bit more realistic to me, the more earthy. But it's only, I only brought it down five points. Whoops, I don't know why that's there. Okay. Part of the software, I guess. So. That's that my turn that down just a little bit. It looks good. And we have reviewed this. So the next thing we're going to do, get rid of our character again and just hide her temporarily. The next thing we want to do is go ahead and I feel comfortable with the shade how it is now I'm going to right-click on it and merge down. We're going to do the same with a light layer. Is the, I couldn't raise the opacity there if it wanted to see it, it'll be too, too much saturation because I'm using that overlay technique. I'll put it right back about where it was. And then when I'm happy with it, I'll just merge down. Now I have again one layer to work with. That's it. One layer. But this is where the magic starts to happen. I have my color picker. This is very important. My color picker right here, ready to go on a hotkey for me right now, it's the M key because my hand is on the right side of my keyboard as expressed earlier. And my brushes on the J key. So go Color Picker brush, color picker brush. So I'm just going to take out some of these areas where we still have black lines. Right? So here's black line. Just want to work it out and kinda get this, come in here and do that stuff out of the way. And while we're doing this, I can also use those black lines such as this. I'm going to select that black line because remember the black line is little dark. And I can use it to add even more color and design. Then we had before, we'll add some shape. And I can choose some of these blue shade lines that we had as well. And working, working some detail like this. I kinda feel as though where one layer of earth meets the other is should there should be a crease. I don't know if I'm right about that. But when that happens, I'll just go find a darker area and select that color and make a crease like that. So Let's continue like this. Because around here, there's a useless black line. And you can choose to paint over the black lines or you can choose to use them to your advantage. There's another thing that, I don't know if I emphasize this before. But you notice that all of the areas all of these do I have yeah, I'm working. All of these highlights that I made in this yellowish area here and over here, every place around here and here. Every place that I made those yellow highlights, it was assuming that the sun, It's kinda, you know, it's far off in the background up that way. It's not within view obviously. And it's shining its rays down this way. And it's even coming towards us a little bit this way. That's why this shadow right here from the tree is kind of exactly like that. All of these things were very important. I didn't I had so many things to tell you at once. I didn't express that in the last lesson, so I just want to do that now. Is you see, we would just see you're thinking in your mind, where is this tree, right? And where will the light be able to hit it if it's coming down with raised like this. And it can be a bit of a fanning pattern where the sun is at a point. And it's fanning. It's sun rays out, but not too much of a fan because usually it's so far away, they're just fanning slightly. It's kinda making sun rays like that slight fanning technique. And so obviously we're kinda under the tree here. So this area here would not get light is not this one. Not I don't know if I made that very obvious, but I just want to make sure it mostly the left side, excuse me. The right side said that backwards. The right side of everything will be getting the light, just like when we draw a sphere. And the light was coming from the right side. Now, in this area here, because the light is going to be bouncing around in coming through this special area, you get a little bit of that halo effect. So you can kinda highlight, you know, all, all the angles of it. Because the sun, as I said, it is coming towards us too. So a little bit of areas around here will also be catching some of the Sun. And that stuff is very subtle. It's not important. You could skip that. You could just make the light go on the right side of everything and make the shade going the left side of everything. If that feels confusing. But it's nice to try and feel in a 3D is a, make a 3D model in your head and kind of imagine where your son is in constantly keep that in mind. And that's how I got all of my highlights here and here and here. And the shade is going on the left side of each thing, right, around here and around here, a shaded that in, and so on and so forth. So with that being done, we'll go in here where it's very sloppy. And I'm back on my cliff layer, I believe. Yes. And now I can start to want to go back with the hard brush and do some leaves. There'll be a little sloppy. Pick some things out here and get this dark from some of those dark lines. This is why I left those dark lines in there. They're good. So I can do some leaves that are in the shade, right? And this area's darker, actually more darker. It makes them scratchy lines, leaf, leaf, leaf beefy fief. And that would give you something that starts to look a bit more realistic. So, but let's take advantage of our brushes. So here I have a leaf brush. There may be four. And as you can see, it's in the shape of a leaf. Right now. I'm not going to tell you exactly how I did that. I might not even tell you at all because as you can see here, there are so many brushes that you can find online or whatever or make your own. And I'm not going into detail about how to make your own brushes. But what I will tell you is that this brush is very useful to make leaf, a leaf pattern like that. And as a matter of fact, I simply can't even remember if I made that or if I found that somewhere. But I just know I have this leaf brush. So we're going back to my technique here, where I use zoom in, I pick a color and I make some brush like that with the leafs after you determine how big the leaf should be. And I get one of my darker colors and come around here. And the lighter colors and go here. And I want this to be, actually want to modify it, this I will. This is part of the lesson. Making a brushes not but I need to modify this brush here. With spacing. Spacing is very important. I covered this earlier and I'm going to cover it again. I use this a lot. I want the space between each leaf to be bigger. So now when I pin leave, you can see all that space there. And I also have it set to rotate. So you're gonna get a lot of randomization. So now we can pick these colors, and now you can see why it wasn't important earlier whether or not we were sloppy or organized or anything like that because we're gonna come back later and just work around like this. You get some shaded areas. Oh, we're just going to we're just going to use those colors that we made. That's all that matters. We're painting now right around here at some leaves and the darker area should have some darker leaves. Those are too dark, but okay. How did I get those? And see how quickly that starts to look a bit more realistic. Just by playing with the brush and the colors over here. Do the same thing. So that one's a little too dark. Well, you can do in a situation like that is go to the opacity, bring it down because I liked that darkness but not that dark. Right? Stroke at once like that, use your color picker again, and now you have o and put the opacity back to 100. There's different ways you can find the color that you need. Lot of leafy leakiness in here. And in some cases we might go over the branch because that's how it is and maybe their leaves are going over it. Or also because later we can just come back and draw the branch back in. But in the same way that we learned before to just draw the things in the background first and come back later and worry about it later. Let's keep that in mind. Okay, I'm gonna do the same with this and lower the opacity a little bit on this brush, it's dark but too dark, right? That's better. You back to a 100, right? That's good. Let me scenarios in here a stroke a few times, get it right. And that's that same thing will happen with the tree trunk here. I'm going to choose a soft edge here. And we're not making leaves anymore. But I have a soft round brush. Take some of these highlights and just add detail. This is a treat. So what does that tree look like? It has bark bark on a tree. Usually some lines going around this way and that way some rings. And it can use these rings to define where your light and shade is a little bit better too. So over here should be darker. Maybe they'll have more lines and those lines will be darker than the other lines like that. See that? And then now that I have that done a little bit more here, I want to focus on this one area over here. So you see we have that soft kind of shading wrapping around the tree. And we also have our new texture here. This is like moderate textures now like crazy texture is working in some lines. And now I can cover up some of the light areas just to show that there's not perfectly smooth and soft there. So cover up some of these light areas with with a texture color. So you still get that round soft smoothness. But at the same time, we're showing that there's a different lights bouncing around. Okay. So here's a perfect spot right here. We have these. There's a little tree bark. I'm adding detail here. And it's getting hit. The light is shining through and it's hitting these little rough edges of the tree bark. There's also, whereas the darkest color I can find, for every little bump, there should also be a shade. So on the left side of each bump, you can do a little shade line, something like that. So you see you see how that all fell into line there. We started off by making it smooth and soft and everything. Just just getting the colors down and having a soft and round and putting light or light belongs and shade where she belongs. And we have some extra black line colors we took advantage of. You can even just go back over here and choose different colors if you want. What else would you do? So now that we have that, and I can just tell that the left side of this should be darker if you have more shade over here, right? So what do we have? We have choices to make. We can add another layer and do that blue thing again and give it a second level of darkness in. After we do all this, or we can go ahead and try and shade it right now. I'm gonna go, I'm gonna wait. I'm gonna make everything look like this tree looks like right now. And then I'll add another layer of darkness and kind of make the roundness of everything better because it looks a little flat. It goes it has light on the right side and look shady or on the left side, but there's no place where it gets really dark, right? You need a kind of a third level of darkness. So it looks like a cone, more of a rounded shape. Okay, so that's it for this lesson. I'm going to continue like that. I can't obviously, if I were to do all of that for each and every one of these areas here. For all the trees, then it would take too long for the lesson. But everything I did there, I can do down here and I'm going to look for brushes too. So down here, this area, I don't want any place to look perfectly flat is a huge, huge important thing. And hopefully we'll come back to this. But this area here, we cannot have a flat color like that. So I might go over here and choose a dark color and see it looks sandy. That's another one of my brushes. It's like stars or, or Sandy or whatever. And just put something in there, put some kind of texture is grab a brush. Even if it's not like the proper brush, even just, you know, here's, here's just a random brush. Even that, that's fine and lower the opacity. A little bit. Just shaded in a little bit. I don't like how this is coming out. I'm just saying for example, so I'm going to undo all that. I just wanted to tell you. I'm gonna do all of that for this whole cliff area. Let me go ahead and just smooth things out at in detail and get rid of those lines all at the same time. So that everything looks up to par with this tree. So it has multiple colors and the shade and the details. And then we'll see where to go in the next lesson. See you soon. 17. Texture: We've made it to a very, very nice place here. I am enjoying how this looks, I think is pretty good. And I would look to see if we can't move around a little here. Yeah. Just trying to flip the Canvas real quick. Yeah. A midterm review here, kinda like moving the canvas as zooming in, zooming out to make sure we didn't forget anything along the way. We've learned to play with the colors on a layer using these adjustments here in GIMP, they have that as well. And and some of the softwares do not have that. I'm not sure about. I know for a fact that sketchbook is very limited. Remember a part of this course is digital painting in general. So I hope that all the tools that I've used here, I could say that they're available in all of the software is, but it's not true, necessarily. Sketchbook and I think they're lacking a couple of things. I could be wrong about that. Although, yeah, I think I've been wrong a couple of times about this, but they don't have the same amount of dexterity that both GIMP and finish up have. So photoshop have, so they have, for example, these blending modes, but I think they apply it only to the brush. And I did demonstrate that earlier. So anyway, all the tools are available in short, but it's just different per software. So let's have a look where we left off here. I was going to show you this rock. Anyway, let's put it on a different layer. Just to be sure, is another good tip. When you're getting to draw something that you're not sure about as I am right now. I'm not a 100 percent sure how to draw my rock. But make a new layer and draw on top of it, right? So this one works. This is why I called it skin texture, but it'll work. It's just a brush I have for texture. So we'll make some lines just, it just has to be rough basically. And we're gonna look at the shape of the rock. So I'll turn the opacity down a little bit and rough it up a little bit. This around here. Make some lines. Remember the rock and old rock or a boulder can be very similar to the land, the cliff that we made down here where it has layers. But usually it doesn't have different colors. It'll be all just one big giant color. But it still has these kind of layers. Still has these kind of layers. And as I said, it goes up and down The vertically and left and right kind of horizontally. And we're still doing the same trip we had before, where I'm leaving some of these colors and I'm going to come back and use them. But just use a color picker, come back in here and make this much smaller. And it'll start to make some shapes and fill in some lines around here. More detailed, the better. Yeah. This is a rock up on a cliff and assume it's a little bit dry. So I have some grainy texture like this. And the wind is always beating at it. So that's something else to keep in mind. And I have some lines like that. There you get something like a rock. Now, something we were talking about earlier that I'll try and complete now. One thing we've accomplished here is if you zoom into any area. I did finish that. Well, let's leave it there. I'm still drawing on this new layer. If you zoom into any area and you see one flat color, just don't, don't let that happen. Just come in and do something. Here's a bunch of flat colors. Let's just put something there. Again. You can tell by the tone of my voice. It's not it's not the end of the world goes wrong, but it's really bad. Flat colors. Nothing you ever look at, even if you look at it like a shiny well, I guess shiny piece of glass would be kinda flat foot. There should be little something in there. Turn the opacity up here a little bit. Is just put something in there. You don't want anything to be too flat. Because that's what differentiates like a good painting from what would be something like call a cartoon or something. And also leaving these lines around too many or too much of that. Try to avoid having these random lines. Just go in here, fill in some space. All that little work amounts to an enormous result. So I made a backup. I did a save of all the work that I've done pretty much up to now and work that I've done pretty much up to now. And we will go back and look at that after we've made a little more progress here so you can see what a difference it makes. We should have made more saves. Actually, I normally do like I save a lot. And between the kind of preoccupied with getting less than right. Along the way, we should look at things like perspective and never forget where we came from, which was a drawing of a drawing. Perspective should be coming up this way a little bit. You go all the way back here and you see these lines here. There should be sort of a fanning technique like that. And it should be going kinda upwards, coming from the horizon. Maybe a look a little bit stronger than that. So it's okay to reshape things in remote things along the way. You get that. Let's turn that layer off, right? See the difference there. Zoom in. This is before I did all of that texture work to make sure there's no flat areas. And then when I turn it back on, where the difference is night and day. Alright, that looks flat, cheesy, cartoony, lazy. And this, just by using a little bit of texture and filling in all those flat areas, it makes a world of difference. And there's still more flat areas here. But we'll keep that in mind. Sometimes it's not till the end of the painting you find a flat area like this one right here. What's this here? That's all flat. But I just don't have a brush for that at the moment. So. What do we do? You know what, whatever. Sometimes you zoom in and you might even think, What about each one of these leaves? They're all a flat color aren't. And that's true. So as I was saying earlier, we should probably do something a bit more dark blue and maybe go to dark, dark, dark blue on a new layer over that cliff area. And let's see again with a soft brush and paint here. Where am I need to pass down a little bit on that layer. I might even turn it down a lot more soon. And in this case, I might actually go ahead and turn down the opacity on the brush. So it's kinda cartoony. Let me undo one step here. Because there's only three colors of leaves. There's like the dark leaves and then the light leaves and behind them there's still just kinda some shady space and you're not really feeling it doesn't feel natural. So in areas like that, I'm going to use this blue and kinda change it up a little bit and change it up a little bit here and there. I didn't even finish. We're back here. Okay? So the opacity of this layer is only are 40 percent. I'll move it up a little bit, right? So you can see that now that feels a little bit more natural to me. I really feel like I'm in the shade. And I'm going to add some more of that over here. And when you add this extra shape, not only does it help to define the darker areas, but it makes the lighter areas pop a little bit, which I think is good. Hubs are really defined things. And that's that with one more layer. And I'm going to choose this capacity. Here's before we did anything. Slowly. Slowly. Wait, there it is all the way up. You can see just Blache. But you don't really notice it that much when it's in the right zone. And it's little sloppy. It'd be nice if it was perfect. Right? We load it like that. But maybe we could go in there and sharpen it up a little bit. With this brush. And the brush, you can turn the opacity down on the eraser tool and the brush. Bring out some highlights like this. And move it here. This is too dark, still. Bring in some place you feel comfortable. Usually it's something more subtle, not to exaggerate it. That works out pretty good and I like that. So let me put it back. And so the point with this lesson here is to kind of finalize things. There's tons of work that can be done, but this is only the background. Keep that in mind. We have a character to draw here and that's usually the focal point, something we really want to focus on. So as far as backgrounds go, this is pretty, pretty good, but you can work on it forever. Just a few more tips. I might add some this in that. Never use a black pen really, unless you have some actual black creases, your darkest color should be as dark as your darkest blue. You can use the Dodge tool, dodge and burn. So let's select the Dodge tool and we'll use a soft round pressure size brush. And now with the Dodge Tool selected, what Dodge excuse me, keep hitting the wrong key. What Dodge Tool does, it lightens things up. So it's a really good way to show that the sun is radiating on something I did right there. I don't have a hotkey set for Dodge because I only use it like towards the end usually. But this also helps us to get some of that glow effect. So you can really feel the power of the sun and also using this. Now all of our highlights are not the same color and the same way that we wanted our shade and other colors to be mixed up here in there. This will help to mix up. It gets some special kind of highlights there. Just like that. See how that goes around there. Let us go back a little bit. I'll go back a few steps. I'll go back a few steps. Right? And here it was kind of plane. A little bit more plain. And let me do this. But I do it fast like that. You see off from a distance. It just kinda spices everything up. But I don't like to do It's sloppy like that with just a few strokes. So I'm gonna go do that again and hit some spots here, spot there to be a little bit random and think about where the sun might hit certain spots. There's light up a little bit. And you can go inside the dark areas here. Because sometimes the light goes through the treat. Something that James gurney needs. A famous painter who wrote a book, color and light. He said something keep in mind with both trees and clouds is that the light goes through them. They're kinda like transparent 0 because it's bouncing around through all the leaves and stuff. So you can have that type of effect sometimes. And that for me is good enough, especially for a background. That doesn't mean we're done. I can always come back later and work on the background more. But what I really want to do now with a nice established background like that is I'm going to move on to the character, the, the hills and all that extra background stuff is less than priority right now. So I work on the character first, while my energy is high and as, as time goes by, you're always gonna get worn out. And your venture, yeah, We're now. So do your priorities first. And so I want to work on the character next. And let's go ahead and do that in the next lesson is going to be very similar to everything we just did. But I want to touch some high points on how to draw people. Get some flesh, skinny tones and some fabric. And that's all. See you in the next lesson. 18. Light and Shade for the Character: Okay, So let's dive into the girl here. We're going to do some shading for the female character. And just to give you an idea of where we're at right now, we're going to work on the female character the same way as we did the cleft. There'll be some lightened shade and there'll be some texture. And then we're going to flatten that out. Then I'll do the same for the hills area back here. I might do that off the screen. I'm not sure. I'll just do it partially on screen because it'll be the same thing, repetitive as you can see. And nothing very special. There's nothing there that'll be different from anything else I've done already. And then we're going to add some more lighting techniques to make it look more realistic. That'll be very important. And then we'll do some dynamic effects, maybe some sun rays, this special lighting effects. And that's it. Then we'll be able to wrap it up. So just so you know where we are and how far into it we are not too much more to go. But this part right here is very important. So let's go ahead and start drawing some lightened shade. I'll use a soft, round pressure size brush, which can always be found in any software. And I'm going to turn this layer here into a clipping mask. I don't know if we've done that yet. I think we haven't. I believe we haven't is the important part about that or if we have, I forget. But let me just show you that here. The important part about that is when I add a clipping mask to the layer above the character, it only draws wherever she is already. It doesn't Draw out of, out of bounce. So I just took that off. And so now you can see if I start painting, oops, sorry, wrong brush and start painting here, it just paints everywhere, right? But when I turn that into a right-click and say Create Clipping Mask. Now it only covers up the parts of the layer underneath the clipping mask which are already painted on. So that's very convenient for, as you can see for this situation in particular. And for all kinds of situations where you just want to stay within the lines, which is very common with painting. So I'm going to lower the opacity here a lot. And she should be in the shape. What I'm thinking for this. So you have an idea is that maybe almost all of her is in the shade. The part where the bird comes out is not maybe her hand over here is not kinda random like that. So it's like the leaves are coming over and blocking a lot. Now, I have to make, after having done that, I couldn't have predicted what would happen here. But after having done that, I might go ahead and make a decision to say like here, remove some of the shade from her, her face there so that you can see. But what we're gonna do here and let me make sure that we're clear on this. That I'm going to use a red pen here on a different layer. And I just wanna make sure what we're doing. As I believe I mentioned this already, but we have the sun coming from here and it's emitting rays, but not in a wide fan like that. It's mostly predominantly is like a giant flashlight. So like somewhere in between here and here, kinda like that. Right. So if I want to have the look that some of the leaves there might be another tree above her. There could be anything going on around here. And so some of the light is being blocked by the trees. So she'll be in a shadow. And in some areas, it won't be like that. So the light will be beaming through and we want to. So it's a very dynamic and complicated kinda situation. And I did that on purpose. I intentionally wanted to do something very difficult in this course so that we can learn something from it. So with the opacity turned down here, I'll go back to my blue and I have to use both of those ideas. So one idea is that she's in the shade and so the light is coming through only through certain leafy areas, right? And it's coming at a certain angle. Let me go back to that soft brush and a certain angle. So everything should kinda like come sort of like that. Another idea, which is also true is that her leg, for example, is still out in the sun, but this side will not be exposed, right? So all over here, this'll kinda be an honors or clothing. There'll be little wrinkle here. And well maybe that little spot right there. All these tiny details are rather important. Say a little spot there kind of pops out. So maybe it should be still that up a little bit. The more details the better when it comes to this kind of stuff. I go like this. We might think, yeah, this part here, it's kinda shady. And this this metallic boot that she has this no, What would you call it even as like a prosthetic leg is sort of very rough, we'll have to come back to that. So the same will be true for the bottom of her leg and the bottom of her leg also here is not like it's not very well shaped, but as we did before, we can shake things up a little bit later. It wouldn't be good if her foot was better shape now, but I don't mind coming back to that for some reason. This a little bit softer. And here it comes around, but this half the side of her body will still be blocked around her breast area there. And her face still be blocked with just a little bit, maybe just showing her eyes. And that was a decision. I mean, because it just doesn't look good. Or will it have I blocker whole face like that? Yeah. I kinda don't like it. Maybe have a little bit of light coming through there and here and have some spots. But I do want some spots coming up here, here, just randomly, so it looks like it's coming through the leaves. Like that. Hopefully that'll work. I think that, that kinda works. And the darkness of that blue should be kind of equivalent to the darkness of all the shade that is around her already. So I'm just eyeballing it here. Let me flip the canvas to get a fresh kind of feel for it. And we can exaggerate it to, I mean, you could go like this. But for me it's too much and go down and make a very subtle, but that's not brave enough. You want to, you want to be brave with things like this and kinda make things pop, but don't exaggerate too much. That's another thing, is as a tip, you don't really, sometimes we get to proud of our ability to notice these little things like the lightened shade and it makes you wonder like go like this. I'm kind of, I exaggerate it a bit too much. Does it say, Haha, look what I did. But when that kind of feeling comes, don't listen to yourself. It's better to just try and be realistic. So you have your shade, it looks good but don't overdo it. And then I'm just going to eyeball that I kinda feel like this spot could come out a little bit. Her hand on this side should be covered a bit more. Looking for looking for flaws, areas that need shade. Back of here. This thing, whatever it is, I don't even know. I keep thinking. I'm going to think about what that is later and I don't, but we'll eventually get to it or else this won't be finished. Right? So I kinda feel like that's good. Does not can you get the feeling of it? I kind of like it. It feels I generally feel like girl and the shape, but that is only the shape. So we still have to do everything else we did before. Yet another layer here, the blue clipping layer will still work. This one will also be a clipping layer, as you can see when I added a layer in between the girl and the blue clipping layer shade, it automatically turn that one into a clipping layer. I didn't even have to do it. So I'll go grab my light yellow, which we use for lighting. And you see here it's automatically a clipping layer already. And we do have to turn the opacity down. I'm going to try starting off with 30. It's at 38, 40. That looks okay. And it should go right to where the shade is. And you can see her foot here is very, very primitive. But that's OK. And now with this area, if I don't feel like the sun is directly hitting her, then I don't really need to add too much light. So it might just be hitting like right here. Maybe it's tracing around that this part here to accentuate that there should be a crease of the clothing, right? Maybe a little bit right here. Where the fold, the folds of the clothing are having. So it doesn't have to hit all of basically what I'm trying to say is it doesn't have to hit all of the areas that are exposed. Like we're still just doing highlights and away. And this one is wrong. It should be over here. And so here's an example, like the roundness of her breast should it doesn't have to be all lit up right? There. Just be subtle around this area here perhaps. I feel like this is too bright. And as we did previously, make sure you do not mix your lights with your shape. So you either have light or you have shaped. And you can't live in the same area, that will make it foggy. It right up into her face. And all of our rules are consistent. It doesn't matter if it's her face, her body or whatever. If you keep the same rules for everything. So her face will have highlights and everything will have highlights. Her eyes. The arm here just the same. And we're going to blend this out a little bit later. I think. Like That doesn't look too bad. Same thing for her metallic leg here. And if you remember much earlier on, much earlier lesson, I was saying I intentionally wanted to have this to be metallic so we can play with it a little bit to make it. It's not just as you can see now, it's gray. Her leg obviously is skin tone or skin hue. And this is great. So you kind of get it already. You know that it's made out of metal or something. But what will we be able to do to make it really, really look like metal and have a smooth, shiny surface or not. Maybe it's a rough kinda metal, but well, what can we do to distinguish it outside of its color? To make it look like it's very different from the fleshy area of her skin. And that's so we'll do that after we get our basic lightened shade. Just like we had some tricks back here to make the trees look as they do. There's a trick for every, every surface. And you have to treat every surface as if it's unique. That's the whole point of pain. So your skin should look like skin. Metal should look like metal. And just do whatever it is you have to do to make things look as they should be. Some people argue this. There are other ways to do it. You can use one brush to paint everything if you want. And some people do that and they call that a traditional style. I don't know why, because I find that all traditional artists were trying to be realistic. And they had, actually, I, I really wanted to make a point of this when you listen to some other artists and they say things sometimes that really make you think like really that sounds like a good point. Just use one brush in and don't worry about things and isn't it, it really makes sense what they're saying. But I stopped when I think about it. And I always compare it to like ancient masters, right? Like the ancient Renaissance artists and stuff. They used a lot of brushes. And what about even Bob Ross? He had a ton of brushes. I used to have a brush kit myself when I was doing oil paintings and acrylics and stuff. You get your fan brush, irregular brush. And it's true most of the painting you can do with just one brush. But there's also nothing wrong with picking up some other brushes, smaller fine detail brushes and a fan brush for special techniques or whatever, and use all the tools available to you. Okay, That's that I haven't done the bird at all and I might not add him. I might just do that quickly like off-screen, but I like how that looks. If you zoom out and kinda like blur your eyes a little bit. I really feel like I'm looking at it girl in the shade of a bushy area with some light shining through. And we can even accentuate that a bit later. We'll have a look. But for right now, I'm pretty happy with that. I like how that came out. I hope that was useful for you. And we'll go ahead and move on to the next lesson. 19. Defining the Character: Here we are again, and we'll have a look at a continuing our female character here. I made a few minor adjustments, just some cleanup work. I gave her a toe, as you can see there. And this part, those little sloppy kind of cleaned up the lines and kinda worked on it. See here some sloppy lines. All of this can either be painted over at some point or I could clean it up. Now, it's irrelevant. But we still have some dirty lines here that technically speaking, don't need to beat her anymore. But some of them are useful. So what I was doing with these lines here on her dress or skirt is this is supposed to be some stress lines from material. You can see some of it going down there. Her legs are also separated a bit. So maybe go around like that. Just showing some of this can be done very randomly. There's kind of show a Fabrycky kind of look without overdoing it. Getting complicated. But where it's sloppy, that we just don't want, simply don't want sloppy. Okay, So the point I wanna get to here is we already know that there's a lot of light coming and make that brush bigger coming from over here, but the rays coming down this way and that caused all of the current lightened shade that she has now. But also that's not the only light and shade. If I went to this very important and I say this correctly, if that were the only light source and that was it, truly the only one light and we were in a dark room. And you go into a dark room and you shine a flashlight on somebody, you'll see very sharp details. It looks kind of scary actually, right? The, you'll only see pure shadow impure like. But if you're in the shade, it's not pure shadow on pure light because the environment of this shaded area also has some lighting already and it's like bouncing all over the place. So for the most part, we can't predict everything exactly from our imaginations. But usually we can just imagine that there's some light coming directly down from the sky. So we don't really have to do much but add more shadow on the underneath parts of whatever is the opposite of up the downside of her body for that. And that is actually true for everything. And it'll be true for the bird to be true for everyone. But it's just to say, imagine that the word note these lighted areas here, the, which'll, you know, kinda sparkling shine that we just did. It. There's lightened areas were not shining through. Would she have no shadow at all which you have no form which would be flat like a cartoon. Notice she's still has formed to her body and you're still going to have some type of shadow around summer. So let's just do that with another a blue layer. I was thinking we could do it with a black layer potentially, but I think blue is the right thing to do in this case, and we'll go ahead and do that. So in this case, just, just very simple around here that helped to accentuate some of the wrinkles on her clothes. And yeah, I'm wondering right now that blue. If I want a darker, darker, kinda blue or a gray or blue. Yeah, I'm going to undo all of that. Right. Something that a little bit more. We can always change it and always changing color a little bit. But around here is going to be like that. Also over here. And all around here is getting all of the bottom areas. Now her shirt here looks very almost plasticky. Like plastic doesn't have any wrinkles or bridges or anything. Maybe. I don't want to lose my blue but we can add some later. Be a little bit more wrinkly. Her arm here is very, let's say underdeveloped. We haven't gotten there yet, it's in construction. To be determined. Maybe you made about here a little bit. And that this part I feel like it's a little bit unnecessary. At this time, I'm going to be brave and lower the opacity of the brush just a little bit. So I'll give it a little bit. Softness in there. Notice in some cases, I'm not coming all the way down. You don't have to because if I do that and I left a little bit of area here, that means I'm expecting some, some light to come from the bottom and bounce up. It's very common. And I'm going to demonstrate that right here, right now on her leg, which is a nice big round cylinder shape. I'm going to slowly yeah, this is why it's good at a lower to pass the on the brush a little bit. Slowly work in from the higher part of the lower part until it gets darker. Might even erase a little at the top there. So you see the bottom, the very bottom is not shaded. I left a little area there. And you're going to erase more because definitely it should be reflecting sunlight from underneath. And that is even a little too strong. I'm gonna go back to my eraser here and lower the passing of the eraser like that. Yeah, so it's just a little bit like the same here you can see I left some space around the edge. And again, we're only trying to hit the bottom part's really and over here, the leg is two, leaving some space. Again here. Here you can see it really clearly. I left some space on. I don't want to use that color, but rather than the edge here. So I could fill that in with, with bread potentially is at 0, it's an, a dark. You later on this could be filled in with a different color for reflected light. And see how when you zoom in, it's very sloppy, but that's all very easy to fix. Once we get the colors in there, then we have 130 capacity, but I lost my blue. So just go back here. 3930. Okay. Notice we have a Git the arm all around here. Okay. Neck area. And I'll turn my past backup. So only for rare occasions like that, Would I turn up the opacity? If you noticed, I made a big fuss about that earlier, that you change the opacity. This is not for all painting purposes, but for, for this type of layered technique of painting. I only, I only change the opacity on the layer and not on Well, anything else, not on the brush or the racer or anything like that. Going around here. Just adding some more darks. Maybe under her. I hear her eyes or teach set. These little details. Very helpful. Little sloppy interface area. But although this also is a very big illustration, so to zoom in that close, if it looks moderately good at probably good enough. Okay. So I think that worked that helped to give her her body and her clothing and everything a lot more form. And I can go ahead and merge that and clean it up. And that's basically all I had to do for that. But what I wanna do next is use some, just some brushes and add some texture, which I think will be helpful. And see how it can make her face look a little bit more realistic and then will be pretty much done. So, yeah, let's do that real quick. Another lesson. See you in the next lesson. 20. Character Texture: Okay, Let's have a look at where we are right now. And we have a lot of exciting stuff to look at here. See if I can get in there. I added this layer here over the, what I call the hill area. It's basically the background and it still sloppy as you can see. I just wanted to show you, look, if I turn off the layer opinion above the layer, see how much better that is like. That is just obviously very plain and, and childish. But just by doing that, and all I did is I took one of my texture brushes over here. I believe I used this one speckled surface. And I can show you now with a brush. I get on that layer. It looks kinda zoom in a little more. It just like that. It just speckled rough kind of brush and you can go around like that. And I just did that in blue and yellow as we normally do for the light and the shape, just like that. So that turn out good. And obviously it's not done, but it was just something else I wanted to catch up so that the background doesn't look, you know, it's starting to look further and further behind everything else we're doing. Now we have something a little bit more overall, rounded and whatnot. So let's get back in here. Also with the female character I've worked on the bird little, nothing amazing. Using that technique, I should have showed you earlier where you are on the right brush here. Soft round pressure size. And at a lower opacity like this, grab the blue and smooth it out, shape it up, move around here and grab the darker area and kinda smooth it out. Just just like sculpting like that. And it was sloppy obviously, so I had to clean up the edges in the borders and stuff like that. So right now it's a little better than before. It's just brought up to par with about everything else. That's all I wanted to do. So I did that off camera. And let's get back to the girl. So what we wanna do now is separate our different types of textures. This is something we didn't even really do it on the trees, but as I said, the background is background and we don't really make a big priority of it. Unless later on you decide to do that, maybe have time and you can do more, that's fine. If not. Well, focus on the character. That's what we're doing. So let's go back to the very basics here, where I said, we're going to have a bunch of tools that we need to use some time. And one of the tools, it, one of the things you have to do this is digital painting is take advantage of the fact that you have, you, it's digital and you can make mistakes which you can fix. So I just kinda feel like her foot is a little bit smaller over here. I'm gonna take this is called the lasso tool. Anyway, it's a selection tool. What do they call that? It is well, it's not telling me. And we see it is the Polygon Lasso Tool. So some type of lasso tool. So I'm going to cut that out, paste it back in place. And in Photoshop you can do Control T and grab this corner here and hold Shift and just make a little bit bigger. And we'll get our whole body while I do that, I get it about where I want it. And I think that's it. Yeah. I'm eyeballing it. That's okay. So I'm going to put that in this case. Her foot is on a separate layer now and we're gonna put it under her leg like that. Then basically for this situation, I can just, oops, merge down. So it's all on one layer again. So now our foot is bigger and all we have to do is go and clean it up. Now here is where my technique again comes In. Very useful because we're going to grab and paint, grab a color and paint. And we're just going to patch up patch up that area there because you could see where it was cut off, right? So we're going to get the wrong color. Grabbing paint here, grabbing paint, smooth it out so it looks more natural again. Down here. Yeah. And now from a distance, you can't tell the difference. You might be able to notice, but you know who was going to zoom in this far, it's a digital painting. So the closest you'll zoom in was this far. And why would you even look there anyway? So for this case, I kinda feel like that's good enough. And I felt the same thing with your head. I intentionally I could have done this stuff off of off the camera, but I intentionally left it here as a learning lesson. The mistakes that I make here, or the best part where you can see how I fix things. Okay. I'll hold down the Shift. So it means taint maintains that a ratio. Is that about right? Whoops. Let me see. We've got an error there. What happens if I undo? Right now let's redo there. Yeah. Okay. So that's right. It's just a tiny bit bigger. But it seemed really important to me. And if, if need be later on, I'll just simply do it again. The position after I pasted it sometimes needs arrangement. Let's see. Not too bad. I think it fits in there pretty good. So in this case, I'll just merge that down as it is. And there really isn't barely anything they're worth fixing. I think it's okay. Maybe you're here, I'll just clean up while I'm here for a little bit. And that should come down a bit more of a curve. This is something missing here. Now. That's good. Okay. Yeah. Let's get a little light on her neck. Just looks better. Okay. All right. So one thing with skin and I guess because she's kinda far away and we again, we won't be zooming in. We don't expect people to come in this close. But one thing about skin is that it's usually not perfect. It's Blache. And we have skin pores and stuff. And you can see people's skin pores actually from even not across the room. But if you're close at all, you can normally kinda see a lot of what people have. So I have one brush here you can use, again, any brush. Something that has some texture to it, but I have one that I use for skin texture like this. And I'm gonna go ahead and put that on a new layer. And as we did before, I'm just going to put the opacity down at that layer. So I don't have to worry about it too much. And I'm going to do the same exact thing that I normally do. I'm going to smooth, smooth it out. I'm going to add first I added red. Because Guinness you to have, especially on the cheeks, usually has little reddish next to it. And then we're just going to smooth it out, but I'm smoothing it out with this texture brush. I have my shade and here I can include that. I can bring some of the light parts down into the shape parts like this. So just getting texture all over her face. So just a little bit of that. Yet now looks a little bit more more like skin. Let's get all the way down to the red. Turn on a regular soft round pressure opacity. Whoops, no pressure size. And turn the opacity really far down. I've got it on for a prolonged four right there and give her some reddish anise that might be too far down. And that'll smooth it out. And they can barely see it coming in. But that makes it look a lot more human. Usually people have some color in their face and the ears. Okay. So let's turn that layer off and see what a difference it makes. Yeah, that's a big difference. We're also going to go in here. And I can choose pure white or my usual yellow light. I need a very, very strong highlight to get her eyes. And for this I need full capacity. So the light is people's eyes are kinda of like glass and they reflect a lot. While I'm there. I can turn the opacity down a little bit, make some highlight on her. Just under here. The hat will be blocking. She's wearing that hat. Sir, How did we blocking some of the view there? And while I'm there, actually, I think we need some hair coming into there to look more natural. Okay. So anyway, with all that, keep in mind, I'm doing this like while talking off the cuff. And I don't want this to run on for super long course, but here is before and then after. And obviously I did a lot more before. So this looks a little bit more human. So if you look at that odor face there and then compare it to, say, you know, the hand or the stomach area where it just looks like a flat colors. It's a major improvement. So I did want to share those types of techniques where all those tiny, tiny little details and the texture, even from quite a distance, it's somehow noticeable. It shows that you put the work in. Okay. So Dodge Tool and go to her arm. And make this pop out a little bit. That is done the right tool on your exposure. I can just see where the light should be kind of popping out here. And same for all of the other spots where the sun should be kind of bouncing offer. But only on the skin. I'm not gonna do that on the clothes because clothes are not as shiny and reflective as skin. I'm just using the dodge tool for this because it's perfect for that kind of shiny effect. Now, especially here on the metal. Metal is the best place in the world to use the Dodge tool. That'll get really shiny like that. See, I use a lot when I was using it on the skin, I'll just do a tiny little dab here and there. But with this, I'd stroke it a few times to really get that shining effect basically turns everything white. And we're getting there. I could use dodgy little on her face. I want little parts to just pop out, kinda glow. So it really feels like the sun is struggling to poke through these little areas. Yeah. For other parts of her body. Again, being human, we do need some more red and things like this. So I'm going to add another layer, make it a clipping mask. And back to a regular brush here with soft round pressure size and make the opacity very low on the brush. This time, I'm painting, so I'm making it on the brush. Let's think of where she might have different skin color, the feet maybe a little bit worn. And let me change while I'm at it. And we changed his normal into overlay blending mode. So when you do that, it doesn't cover up all of the what do you call it like the shading and the lightened stuff. Let me give an example of that would go to normal. And then your stroke here, 123, et cetera, cycles just turning everything red, right? When I put it on the normal painting mode, we would do an overlay. It's just making an overlay. It kinda keeps a lot of that original color. So maybe her feeder sore maybe or feeder sore. I don't know. But you just feel blood streaming through whichever parts of her body. Wherever you think it might need a little more, where it should look a little more human like this area here. If you were to tell me, it just looks like a flat. We shouldn't put some something in there, maybe some darker shade to show muscle tone. Maybe she has a bit of a six pack. I don't know what, but just make it look a little bit more human. Her neck, her ears, things like that. And since I have it on a separate layer, I can erase a little bit here in there. Oops. You can overdo it and then come back and erase. Sometimes. Can I get Yeah. Right. So that's going to look drastically different from how it did before. Her hands. A little more red tone. And I'll erase some parts I think are, are overdid it come back in here. One thing to do also with skin. This is actually really, really good. See, I just chose a normal skin color area and it's still in that orange zone. Bring it down closer to where the color is stronger and a little bit darker. And then come back in and where there should be shade, shaded in S such. Zoom out a little bit and you'll see that. I'll try and put some of this. Don't want it to look like a six pack, but a little bit of muscle tone like that. And we're basically using it as a sort of a shade. So you would think as as her as her leg goes further off into the darkness, it should have more more color, less color. Okay. I think there might be good enough at least enough for me to take a quick break here. Okay. The hand of those important, we got lucky there. Sometimes you just make it a couple of strokes and you're like, Yeah, that was it. That did it and fix it. Okay. All right. So we're going to compare that very soon, probably in the next lesson, because this one got long, but we're going to compare that to a previous version. One thing I can do it you have the layer, the mass, but we already merged a little bit. But just to see how it is now compared to how it was previously, seal that color just adds so much. She looks flat and ghostly and cold, like an Android or a robot here. And then when I add this back on, I'll try and zoom in just a little bit more. For people in smaller screens, you're a ticket off. Here's without that layer we just made. And now when I add this layer on, you can feel it's a bit more human, right? Is a bit of a glow. And I couldn't use texture for that, but I want her legs to be shiny and silky smooth in this case, right? And it was maybe a male soldier Warrior. Maybe I would have taken a different approach. But you can probably understand why I did that. And for the face, we still have a little bit of texture in detail in there, which is always good, even though it's going to be very, very far away by the time we're done. But it's good to have that in there just in case the hair could use more detail. So that's all I'm gonna do now is continue like that. I'm going to do the same thing with other parts of her body. And it will become extremely boring if I show you each and every step. But I'm going to use the same tools that I've already showed you, a dodge. I'm going to darken the colors and some areas. I'm going to add a little bit of color. And then so when we come back This a look, right now, what does it look like? A bunch of colors mix that should be pink. Maybe it's fabric. Hopefully, it'll look more like fabric. And the only tip I can give you a outside of what we've done already is to find a, a good texture. Usually they're all about the same, just something that's rough, right? And we think about the texture. If I have something that's more lining for fabric, all right, not speckles, but something more vertical and horizontal. I'll find that. But maybe this is what I get in just like this. And I'll just do that for yeah, for the fabric and do whatever I have to do to make it look like fabric. And when that's done, we'll come back and we're going to look at other types of lighting. Even with everything we've done here, There's one more step of having some bouncing light and reflecting light. And we're going to apply that to the girl. And then we'll be very close to done and we'll see what happens after that. So I'll see you in the next lesson. 21. Reflective Light: Okay, so now we have a lot of very interesting stuff to look at. Let's start by comparing where it came from because I know it'll look a little bit funny. We're in that kind of intermediate stage with something like the trees. Unless you're the kind of person who really cares about trees, you might look at the current state of them right now. And instead of everything say, Well, that's good. It's very detailed. It has color. But obviously, if you really zoom in, I mean, you just have to ask yourself a question over and over when you're painting. When I zoom in, is that it treat, as you can see here, we have resemble a tree, but it's not a tree. So it depends on how far you want to go and you can keep adding texture and detail and choosing brushes and smoothing in and layer after layer. The idea is every time you add something, keep it on a separate layer and when it's good, then merge it down. If it's not, then deleted. And believe me, through the through the course of this course, is that how you say through the course of my making this course, I've actually deleted some stuff and restarted it happens. But I'm trying to show you some of the better stuff. So let's have a look at two things. One, in review here, we're not done yet completely, but let's just sort of a milestone quick spot check here. You can see with our previous version here that didn't have texture. That's what we're focusing on now is the texture. It's just, it looks so fake. It's just unbelievably thick. It's just I mean, you know, we're human leg doesn't even have any shading or texture and detail and the foot, it's a painting. It could pass as a cartoon with some black lines around it. But we're trying to do digital painting, right? And we get over here to this one. I'm not saying it looks real, but it's miles beyond this one here. And it didn't take that much work. All we had to do was apply some more color and shade in certain places, intensify or shade and intensify or detail. And then I chose some brushes and as you can see, we really zoom in. I mean, it's very, very basic. I just kinda thought maybe make it look like a sweater and it has some thick grainy fabric lines going around it. But when we zoom out to where people will actually see it, It's not too bad. I think that's starting to look realistic. So improvements are improvements. That's one thing. The other thing, zoom out a little bit more here is a checker values. Remember, all the way back when we were talking about value paintings. So I put on this layer here, the hue saturation adjustment layer. You can see here. This is good. I mean, I like it. I think the values came out pretty good. I can see some places when I turn this on that need a little bit more attention. And I can feel it helps me to get a better eye. For example, something around her face and her nose there it seems. It seems like her face was cut out of paper sideways. It's flat. And it's just flat. So looking at my values is very helpful. That helps me to see what I might need to add. And I know what I need to add right now, I would go in and say just what has to be on the right layer around this area here. And somewhere around here. I have to, since it looks flat, well, the answer is to make it more round, right? I have to figure out how to get some more light and shade in there until it looks correct. And I will do that later. For now. What I would like to do, we've checked our values and it looks good. And I also want to say, just imagine, if you had to do this in black and white. This is another argument I have about why my technique might be a little bit easier for people then using value painting, do you think you would be able to do this in pure black and white without using colors. I mean, if you ask me, that's kinda hard. I like my kind of 1, 2, 3 technique with the lighting, the shape, Well, you know, first the color, base color that you like, then you shade, then you flatten it and you go painting and he had some texture. And I don't think it's harder. I don't think it takes much longer. If you're doing value painting, would you be able to get all of that? I don't know. Maybe you start with value painting is simple value painting. And then you switch to color and then you add detail. You can do it all different ways. But anyway, Let's just leave that argument for the people who need to deal with that problem. One thing I can note is that it looks very, very bright, very vivid. That's just me. I'm, I make very vivid paintings. But we can always go back and change that with the adjustments. Here, we go to brightness contrast over my favorite hue saturation. And later on, if I choose to, I can bring these colors down further like that, right? I can change the lightness, go up higher or go down lower. And I'll figure that out later. I'm going to do that last right now. The only thing that matters is consistency. That everything is consistent. And it is, I've consistent consistency with the colors, the brightness of the colors all over the place. And so we'll figure that out later. For now. The last thing we're gonna do, I'm gonna do this for everything. And it's probably the very last step. You see with her boot here. By the way, I detailed that in just a little bit more more work can be done. But yeah, for the very last step here, let's talk about bouncing. Like I said, bouncing, be OU and bounce. Light is bouncing all over the place. So I'm going to add another layer as usual for experimenting. And I'm going to go in here and I'm going to choose a color that is already somewhere around her, or if nothing is around her, I could also choose blue. But in this case I'm gonna go with one of these greens. And I'm gonna make it very, very light up in the color palette here. And I believe I can just stay where I am on this. Okay, Got it. Had a little bug there. And depending on where I'm drawing, I might use little texture. So I'm going to use a rough surface or no speckled surface brush I have here, which is what I used for her hat. And I'm just going to say there's little light coming from behind her. And that light is coming because the light from the sun is bouncing off of a tree leaf and then reflecting and hitting the top of her hat. And that's actually true. That's actually how things work. We get reflective lay all over the place. But how do you know how many places, where does it show up? This and that doesn't need to be all over the place. I don't know. That's so much I'll erase that if it if it seems bad. But I'm going to throw some around here. Let me actually turn the opacity down on the brush. And thirst somewhere around here and here. The light is just bouncing all over the place. And then move it up here, over here. So we have more colors coming, more colors. And this will go back to my original philosophy, which is the more colors the better. So that was very subtle, but I haven't wanted a different layer. Let's see what happens when we add some more. And we go down here and choose sort of a brown color and go up again, very, very light. And now we're going to hit some smooth spots are not where we start to do the bottom of her dress. So I will hit some spots down here. There's this, and we're just going to assume that the light is bouncing off of Somewhere beneath her and then hitting backup. And in some cases it can even go pretty high. So you might bounce around here or over there, right here. So might be coming from under here. This adds a ton of form to a lot of our shapes. Right here is a really good spot that I would say definitely these greens are going to be bouncing off like a lot. They should be bouncing off here. Bouncy bounce, maybe even up here, both above and below and behind. So we have I'll use the leg as a perfect example here. And the back of her leg, I can grab a brown down here and go back into a smoother brush for that smooth and silky. Back here, right down here. I'll just touch it like that. Just that little bit. So it's like let me see if this brush is full capacity, right? The sun comes down. I don't know that's strong enough. The sun comes down. As my arrow from around this way, it hits the ground. Not her knee, but let's just say it goes down a histogram here and then bounces up. And that sounds crazy, but it's God's honest truth, it's scientific fact, it's just what happens. It happens all the time. So it's called reflective light. And you don't always need it, but it can add a lot of, it can just add a ton of meaning. And color adds a lot of color, if nothing else, to your art. Turn the opacity back down. Imagine that this boot right here so shiny that it's like a mirror. Well, it was a mirror, it would reflect objects. You'd actually be able to see the reflection of these rocks and the earth and stuff coming up bouncing over here. Well, we're not going to show that, but it's a little bit shiny, so we're not going to see the reflection of everything, but we're going to see some stuff. So on the bottom of things will have it reflecting as if the light is coming up this way, bouncing up from the earth and shining onto the bottom of this object. Over here. We can even have some more texture. You put little spots here and here underneath this. And while I'm doing this, I'm also trying to add better form. And he place where I think it it looks like it was incorrect. I'll try and shape it up a little bit. See that? Now it's really starting to look shiny and metallic because it's reflecting light from other places. Also do a little bit here. Under her leg. Bottom of her foot might get a little bit over here. That was a bit too much, but maybe it's okay. It a little bit good. And over here we can shine some of this brown rock. I need a lower opacity. Make it very, very subtle that that area might even get darker. I'm not sure how much it'll let me see. Very low opacity intersect that little bit over here. Okay? And here we're definitely again going to have that green coming off her arm and want to like green. Right. Okay. So let me see if I can get this in just the right spot here where we show the before and after. So here I'm going to take it off. And you see everything's a little bit more flat. It's not bad. But when I turn it back on, you see that extra, that extra kinda possess, it adds more shape to things and turn off and on. So here's off. That one. It adds a lot of form and it's real, that's a part of life. Now it's exaggerated a lot. Because I'm demonstrating here. We could always take this layer and turn the opacity down a little bit on it. Make that turn up slowly. See what does it look more natural? And remember what I was saying before. When you're doing lightened shade, sometimes you want to exaggerate your kinda of like showing off. You're saying like, Hey, look at me, look at my reflective light. It try not to do that too much. Try to just make it natural fund a nice balance, flip the canvas. Well, it gives you a new perspective on things. Yeah, it makes a big difference. And it can add more. So I could think like on her hair here. Higher capacity perhaps. Yeah. I wouldn't should be lighter. Ever hair and top of Red Hat, hear their side of the arm. Maybe. That's too much, but I have my handy eraser here. Over here. If I zoom in here from a distance, I might be good. If I did it there in a rehear also should be good. Little touches around the elbow here and there. Like bouncing all over. With that it adds a lot of form. It helps you to see where things are, the way things are moving. This and that. I think that's good. And what I mean is for now maybe just good enough. Not too shabby. Alright. So once again, I have a quick before and after. Before. Yeah, that's a huge difference. Before and after. Here's before. And after. It adds a lot, it really does. So I'm going to leave that like that. We're getting near to the end. What I'm going to do now is That's it. I'm done. I'm going to, I mean, in terms of like painting, we're gonna do one more thing which I call special effects or dynamic lighting effects or something, you know, add a little glow, just look at the finished composition. But in regards to painting, it would be very boring if this could go on for, it's taking me hours and hours to do this, but you're only getting the highlights. So I'm going to repeat everything I just did, both with the trees and with her. I'm going to add the reflective writing to the trees and the cliff. I'm going to fix the shading on this rock over here. I'm going to finish my bottle, my bird, and all using the same techniques. Start off with lightened shade. Then I get into texture, and then I add any needed extra shadows or any needed the reflective light as we just did there, that's all the vocabulary. And then I'm gonna do all of that again for this area back here, which should be hopefully might actually be a big area. I don't know if I wanted to look good. It might take awhile, but it's just distant random objects. So maybe doesn't have to be perfect. And, and everything. I'm going finished my moons and this and that. And I'll come back only just before I finish the very, very final, which is where I usually add any remaining. We'll see if the color balances are good and you should make it higher and saturation are lower. And the lighting effects that might be needed, you know, it's all what I call it a special effects and final touches and stuff like that. We'll do that finally. So first I'm going to finish this up. I might do that in a time-lapse, so you can see it with little music in the background. And then we'll see you in the next lesson where we'll do all the final special effects and stuff and then we'll wrap it up. All right, See you See you soon in the next lesson. 22. Timelapse: Right. 23. Special Effects and Finishing Touches: Okay, So I think we have a dramatic improvement or a dramatic difference. At the very least, it's very different from where we left off in the previous, in the previous lesson. So I just want to have a look at this real quick. I hope that you like it. As much as I do. I'm a wall, I'm starting to like it anyway. And let me see if I can. Sometimes you have to touch the canvas before it does anything. I'm trying to trying to flip it around. Will it go very slowly? Okay. Yeah. That's interests. Sometimes it makes me realize when I flip it how much of a contrast there is. Like I didn't realize the whole light side or the, let's say the left side of the canvas in this case is very lit up and the other side very dark. I mean, it's obvious, but it became much more obvious after I flip the canvas like that. They felt like just reversed my universe that I've been staring at this for a long time. So one of the problems that you get from staring at an illustration for too long, and obviously an illustration with this much detail, it's going to take a long time. And if you spend so much time staring at it, you get used to how things are. So you need to take a break and let your eyes rest and come back later. These are all tips. And when I did that, well, you know, took a nap or went to sleep, got up the next day and said I'd let me have another look at it. And as usual, as always, when I come back the next day, I'll say, oh wow, I didn't realize how many mistakes are. How much room for improvement there is there. So Let's look at some of the things I did. First of all, I kept on separate layers so that we could kind of see the differences. So this tree here, That's how it was before. I just noticed that the tree looked very, very boring, very mundane. It's like perfectly straight. Let me get on a good brush here. Sorry, I have to get a brush here. So I just noticed that this is very straight and rarely do you see a tree that straight and it was very the whole area of the leaves and what not but just seem boring. I don't know if you saw this yet or not, but I also added these. You can see they're kind of brown, brownish leaves. Because usually when I looked at even though these two trees had different colors slightly, fact that all of the leaves on one tree are exactly the same color. Even that kind of bothered me because again, that's not reality. There's usually a lot of subtle differences. Each leaf, although they're very similar in color, but each leaf of a tree, think of it as a, you know, an individual person. And they all should have some little differences, both in size and color. But although it's not going to be completely different, but a little bit more variety than what I had before, but a little bit of brown in there. And obviously if you zoom in, it doesn't look like real leaves, right? But that's another thing I did to help take away from that. So let me turn that layer back on. See here, it doesn't look like well, let me go back to where I started. So that's straight branch. Which layers is the straight trunk of the tree. I covered that up to make it have more shaped, more body. And for the leaves, I just added these. It's not. I might even continue with that. It's cartoony. It's weird, but also, if we zoom back to look at the whole image, It's kinda cool. And sometimes when you get towards the end of an illustration, you start to cave in and say, Okay, I don't know if I can make everything perfect, but I think this looks cool and that's where the thing called style comes from. A lot of people say, Oh, I like your style or I went to paint in this or that style. This is where style comes from. First, we aim for perfection. We aim for perfection. And then when we realize that we're never going to get there, we say, Okay, what can I do to just make this look good? And we do little tricks like this. You know, it's going back to a cartoon kind of style, just sad little, little ripples there to kind of symbolized leaves. And the reason for it was quite obvious to look at it. It just, it just looks like mush. So by adding these fine lines, it's helping to separate the space and give her eyes something to cling to. The same thing happened with the girl here who was a dramatically different from the previous version. And I don't know if I saved everything for her. No. Yeah, I had to merge her because there's so much to be done. I changed her face. And most importantly, I guess what I wanted to note was around here. If I can still going let me draw here. Yeah. Smoothing was on. Okay. So I did this here we can see I made this line like a cast shadow, so it's fine, right? More, more of a fine line, not just a blurry thing and I did it here and a couple of other spots just make it look like the light is coming through the branches a bit more and make that more visible. And under here, obviously, I added a lot of shadow. There's a bit of a cast shadow there. A lot of shadow wherever I could make the shadow more distinct. I did that. And the reason for it we'll look in a previous version very soon is that she has a lot of smooth, soft edges. It just became hard to look at and it made it difficult for your eye to grab what is what. And we'll talk more about that in just a second, right here you can see I also added, you're going to see the line here where it goes around where I make a shadow. So it's kind of like tangible where you can see a contour of the line and you can feel the contour of the line that helps the human eye to grab onto something. Why do people look at cartoons and say, Oh yeah, I can recognize that because human beings or animals in reality, we don't have lines. We don't have lines drawn around the contour of her body. It's really weird. Then the reason for it, I believe, is because the human mind translates everything it sees into lines. So when we can feel the contour and the shape of things, it makes her, it gives our mind the ability to recognize. So when things get too soft and too fuzzy and too blurry, it's pleasing to the eye because it's hard to recognize things. That's why pillow shading is often condemned. It doesn't look good. Okay, let me go back to that one. From the very, very beginning. This was our first sketch and I just wanted to review real quick how far we came. And we came through here. And this is all very rough here. You can still look at the girl and recognizer and feel comfortable with it because it's very simple. But see here's where it gets a little weird. In this part here, she's kind of foggy, United just like you can make her out the contour of her body. But it just starts to get a mushy, foggy. We can't really make out the lines of things, so it's not pleasing to the eye. You can, you can understand it, but you don't like it so much. Same here. You can understand it, but I'm not loving it so much. Then when we get here, now there's a lot of detail and the color, there's enough detail and color to make it look good. But I still don't really like it. That that fuzziness all about her body. I'm talking mostly about her body as I travel through these. And it wasn't until I got to the end. And not this one. This one was another experiment, but not until I got to this point where everything has sharper, sharper distinction between the light and the shadow. Where I started to say, okay, I'm comfortable with that now. So right here on her face you can see clearly where is the light and where's the shade? There's a spot coming through on her hand here you can see clearly that the shade is blocking her arm, but it's hitting other spots. And I finally did something with that phase by the way, we got that done and so on and so forth. So I just followed that rule all around the place. And then I went down to here. It was time to do the background while obviously here too, and the hill in the dirt area, I do a lot more detail in there and see how it's even rough and sketchy. It's not perfect, but just the fact that I went in there and thought more about defining things and making it more realistic. And it just, with little work, little elbow grease, it comes up. So let's go over here in the background. See you edit here, this also on a separate layer and it would be this one. Yes. So see that that's not too bad as it is as it was. But the first thing I noticed, well first let's compare. It's a lot better now, I hope everyone would agree right here. It's just foggy, lazy, fuzzy. This is, you know, it reminds me of a amature like high-school kind of painting where I'd say that's good enough because I can recognize it and it has some depth and stuff, so that's cool. But let's raise the bar a little bit. And that's not, it's not good enough. It's cool, but it's not good enough. I want more because this is what's going to happen. You're going to paint something like that. You're gonna show your friends, they're gonna say, Wow, that's great. And then nobody cares, right? But if you want to make a really good digital painting, we have to push that envelope little, so let's keep going. So what was wrong with this? The first thing that's obvious is that I use the same brush and the same level of detail from here all the way to the back. Which and that's supposed to be like, I don't know, a 100 miles away or something however far, that should be very, very far. And so obviously if I used a big fat brush up here, then one by the time I got back there, it should be much smaller, but it's not it's all the same, just foggy, fuzzy brush. So when I went over it, I made sure to add some detail in this area to distinguish where some of the trees might be coming out. See, I just used that a thick green line there to draw around and say, this might be the shadow underneath the bushes and the trees and stuff. And that we did not have that in a distant part there. So it goes from detail to not detailed. And in the mid area, it's medium detail. And then when we get to the back, I just selected a brush, put on low opacity and blurted out a little bit. So it doesn't look like it has so much detail, so it's blurry back there. And that made a huge difference. So let's look at that again. This is before where the level of detail is the same across the board. And then here where I went from detail and faded back to foggy mist or Misenus. And that's about it. I'll get back to cover. There's another layer. I'm going to go over this one here just to cover up some of the front parts. So you put it like that. It looks like she is on top of the rock, which is true. But there should be some parts of this area which are coming on top of her such as the grass like that. So I did that. And that can be done easily just by adding an extra layer and, you know, just covering up whatever parts you want. So I call that cover. And then one last thing was to take the girl here and see if I could add more contour on her. And I did with some blue, let me get some more blue. I'll use a sky blue right here. And we'll make another clipping layer or clipping mask as they call it. Apparently. And I'm just wondering, what if I just want to try this as an experiment? What if I'm very careful? Go all around the edge of everything? Even around her neck here. And I'll tell you while I'm doing this, well, it doesn't need it there because their hand goes in. This has absolutely nothing to do with being realistic. This is where we get to the end and we say, okay, it's good. But for some reason or another, I'm not satisfied. I just wanted to do something that pops. And you have to keep going back to these silly little tricks in your mind that tell you, you know, what did people like to look at? And that's very important. That's why, that's why I have to study art a lot to learn these little tricks. Just basically what is it that people want to see. And so you learning these funny little tricks sometimes just having a contour line for no reason whatsoever. Oops, that one will just make things pleasing to the eye. And I can't explain it. Let's see. I already like it. Now I'm going to decide later off the camera whether or not I want to keep that, but have a look at that. Isn't that a big difference? Let me turn off the layer and now it's okay, it's realistic. She's kinda hiding back there in the scene. Not too bad. But when I turn it back on, it just pops because that contour really grabs your eye. It makes it easy to recognize the shape where she is. And also it's not unrealistic because the light should be shining through that hole and lighting up the, you know, the the the halo around her the cupola should be lighting up the contour of her body, as I just said. So that's just another trick I thought I'd throw in there. I'm not married a 100 percent to this, but we can also lower the opacity on it. So maybe it's kinda, they're kinda something like that. I'm going to play with that, but I thought it was a cool idea. I thought I'd share that with you. And there was where all my tips for finishing. Okay, I'm gonna leave this here just like that for now. One more lesson where all we do is review everything that we've gone over thus far just to make sure that, you know, there's a reason for review. It helps you to remember things and just want to do review. I like reviews to make sure we covered everything if I missed anything up, put it in the final video. This video might have been split into two. Got very long, but you'll know that by now. Anyway. We'll see you in the next lesson. There's one more to go see you in the next lesson. 24. Final Review: Let's go ahead and wrap this up. We had a very good course here. I'm happy with the product, if nothing else. And we're going to review some notes. And also, let's have a final look at what we did here. There's a couple of things I wanted to mention. I ended up not using the mist. That was my, these are all personal decisions. Your style of drawing or painting can also be completely different from this. He might do cartoons, you might be something else. I hope you understand that it is very important in ending notes here. In summary, it's very important to note that please don't worry about how you draw compared to how I draw, just do whatever you want. The whole point of this course was to get you to understand the tools. Now regarding your ability to draw, what I hope is better than me. Go ahead and do it. Just do what you like to do. Don't worry about my drawing skill. I've not competitive in any way, and I don't think this style is the best style is just something I do. And it helps me to get my ideas out. But you can do this and all different types of way however. So with that being said, what is important is that if you want to use some of the tools, some of the, the mental tools, the concepts that I've shared with you, please do them and, and do it accurately remember them because it's useful no matter what kind of art you're using. Understanding that this background has a lower saturation and color and later contrast. And that the foreground has darker contrast with higher saturation and colors. Understanding that type of thing is very good. Understanding perspective and, and the colors and the reflective light and the texture. All these things are really good no matter what kind of art style you're drawing or painting with, I think it can only improve, it can only help things. So just keep that in mind and then go ahead and do whatever you want. And if you want to copy my art style, please do. Feel free. No, no worries. I don't copyright anything here. I'm just trying to draw what I think is realistic, but it's a little flat sometimes. So in the details here, I wanted to know. Notice that when I go in and add some art, you were making art. And if you're doing fantasy, a big problem sometimes is to make things more interesting. Really zoom in there and, and think about art and design and fashion even. Why did I even put a hat owner? I put an earring, honor, and I thought that was enough. At 1, I started thinking should she have tattoos or something? Yeah. I don't have any tattoos myself, so I don't know. I guess I couldn't think of anything suitable. She's just going for a hike. Don't forget to name your illustration to this one. I think I'm going to name it gone hiking or off hiking. So this girl, she was just hiking. And she might've found the bird, or maybe the bird is her friend. And she's taking a break on the cliff. Still don't know what happened to her in the past. Her legs her but she has a prosthetic leg and I designed that as well to make it more beautiful, more interesting. I decided not to use, missed this particular illustration, but I did use it up here to kind of balance things out with the crazy colors that were going on. I'm still very happy with how I did the trees. I like the fact that when you zoom in, you can see leaves of different colors bouncing around. And when you zoom out, you just kinda get a feeling of the overall shape of the trees that I think that turned out pretty cool. I like that. I can say that because these brushes are new, using that type of brush. Well, I did it before in GIMP. It's different now in Photoshop. But anyway, just like how that turned out, It's interesting. And that's about it. I did decide to stick with the halo around her to get the contour, but I reduce the opacity of that a little bit. And over here, exactly the same. I just smooth it out a little bit with a missed, a zoomed in, but I didn't use a big overall missed. And that was about it. I think I clean up this area a little too, so just to make it look more appropriate. And down here you can see it's a signature, also something to remember Before you go posting online and sharing with people. You want them to know who you are and hopefully people won't steal your work. So that's that and we'll have notes real quick just to review. This is where we started off when we're, by the way, I wanted to show this, I think it's really funny that we start off with this. I had notes in the very beginning, as you can see here. These are all the things that I was hoping to achieve, such as a root up here that have light coming in from here, her face, how to do painting on a face. The fabric. We did that, right? We did fabric, we did skin. We did a Boots which oh, I thought that I was planning to do leather. I guess I thought metal would be more interesting. So I added in metal. Originally it was letter. That's interesting. Flowers did not do flowers here. As a matter of fact, well, I forgot that to IV. I'm going to go back and add flowers now. But you can do your own flowers. That's not a big deal. And big, medium, small. That's referring to texture or excuse me, not texture, the perspective and the texture. That's why I said texture accidentally. Because the texture and the Let me see if I go back. The texture in the leaves also should also be so hard to switch between softwares and get used to the hockey. See like the leaves down here really, really small. And as you go off into the distance, you can't see leaves. So texture also applies to perspective. And just like previously, we notice that all of the mountains from the closest ones to the furthest one all had the same texture and it didn't look right. So just something to keep in mind. And that was basically our beginning notes. Let me get back to the slide here. Very first slide. I think we don't need this one. We have to choose a software, and we have many software as a choice, or it can use all of them. As you see, I play around and both of them, I like GIMP for various things and I'd like Photoshop for other things. And so I'll just use the one that I feel comfortable with and the hardware that choice, we covered that, right? So get yourself a tablet if you don't already have one. And we're, you know, yeah, Basically, I think that's what you have to do. I can't imagine painting without a tablet, so you've got to choose one and you can find a cheap one probably second hand if need be, or find a real good one. If you have the money, That's fine. Composition and prep work. That was regarding how we did the drawing, how I set it up to have good lightened shade. You know, thinking about your illustration. And that's basically a drawing it out and getting your thinking about values and things like that. And number four, zoom in a little bit. Z digital tools. Digital tools that we use, that's referring to the toolbox, right? And all of the tools that you have up in the menus, things like this. So the digital tools would include things like the ability to zoom in and zoom out and panning and selecting, and using the brushes and coloring and changing the colors and flipping the canvas and a bucket fill. All these things are digital tools which we learn, and they're all the same throughout all the softwares. Pretty much the process. We studied two processes. We did value painting and then learn how you can use blending modes to paint over different types of values and things like that. And we also learned my technique, which is to add, it's not mine personally, but I think it's very common technique, traditional kind of technique where I just laid down a base color and add lightened shade with separate layers. And then I merge everything and add texture on new layers. And I paint until it looks good and I merge again and I keep painting, Add Layer Merge. There are other order, Add Layer, Merge, add layer paint merge. And when things are good, you emerge and you move on. And that's it. I don't know why I added drawing here. That might have been a mix up the process, right? So it goes drawing, base color and texture, details. And the finishing touches which we did. That was all that. I want to review all that and I think we have that's about it. So I want to thank you very much for having taken this course. It was a lot of work for me, but also, oops, when I do that, there's a lot of fun. I enjoyed this and I'm very happy about the, the illustration that came out of this. And I keep hitting weird keys. Sorry about that. So I look forward to seeing you in the next course. All of the materials for this website, or know, all the materials for this course will be on my website. Eventually, if it's not there now, but you can find all my other courses at my website too. It's a, B, S, C, H U.net. And I'll put that up on the screen. And any materials for any of my courses that you need. If you want to get a copy of this image where you're going to find any of my other illustrations and, or anything like that, just getting touched me about art. You'll find all of my contact, my social media and everything on my website is, again, it's a BSC. Hu stands for Short for my name, Brendan Schumacher, be shoe. And you can find everything. There are tons of other courses or get in touch with any questions you have. And that's it for this course. I'm going to wrap it up right here. A great time. Can't wait to see you guys do another lesson very soon. We'll see you in the next course that back.