Digital Painting in Photoshop: Basic Techniques for Creating Effects | Robert Marzullo | Skillshare

Digital Painting in Photoshop: Basic Techniques for Creating Effects

Robert Marzullo, Online instructor of Figure Drawing and Comic Art

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
3 Lessons (47m)
    • 1. Lesson on Painting Wood Fire Ice in Photoshop Part 1

    • 2. Lesson on Painting Wood Fire Ice in Photoshop Part 2

    • 3. Lesson on Painting Wood Fire Ice in Photoshop Part 3

12 students are watching this class

About This Class

In this class you will learn how to paint a wood texture, a fire ball, and a block of ice. We will cover the basic techniques in Photoshop CC to create these effects.

You will learn about custom brushes, selection tools, blending modes and much more. By the end of this class you will have completed these three materials and have a much better understanding of how to create your own conceptual elements in this powerful program.


I am using a Wacom tablet to draw and paint with. You can use anything that you are comfortable with to create the artwork but somethings will work better with pressure sensitivity from a drawing tablet.

I am here if you have any questions or requests for future videos.

Thank you and good luck with your art! ;)

Robert A. Marzullo

Ram Studios Comics


1. Lesson on Painting Wood Fire Ice in Photoshop Part 1: Hello everyone, I'm Robert Marzullo here from Ram Studio Comics. Welcome back. In today's video, I want to show you how to paint a few different textures. we're going to do nine by 16 at 300 DPI. This type of exercise can be great for just getting a variety of substrates in your paint work. So if you don't practice doing things like this, you find yourself coming up a little bit short when you go to actually do it in your fantasy, or digital painting, whatever it is you're doing. This first one I'm going to show you is going to be a wood texture. You see, am just drawing out a really rudimentary shape, doesn't have to be very clean. I'm working on a new layer, not against the actual background. Then I'll just go ahead and flood fill just a base color and it really can be a lighter dark version of this. Just remember that when you go to paint stuff like this, you don't have to get it right in the first shot. You'll hear me repeat that a lot in my lessons or whatever. But I truly believe that, you just can really evolve through the process and it doesn't need to be perfect. Go and take a soft RAM brush. In this case I'll use a very soft RAM. I'll show you the settings there. But keep in mind that with any of my lessons, you'll get access to the brushes as well that I use. We'll use a very soft brush. I'm going to go ahead and pick a darker tone, quite dark almost into a dark brownish black, but pretty much a dark brown.The first thing that I tend to do when doing wood grain is, I just make the brush small and I'll vary up the size of the brush. A lot times I'll paint the edge and first, like you see me doing here. What this does, it allows me to feel like the edge has some form, some shape, it's not just a flat edge. I'll generally start here, but it doesn't really matter.This is something you could do in the beginning or later or whatever. It's not a big deal when you do it. But the other thing that I tend to do with wood grain is, I just start to draw on these swirly marks. You see this is all the same size at first, I'll get a couple of knots in there and you do not just by circling the brush like that. Then I want some separations where maybe this is a plank type board tied together or whatever. I picture these separations here. Like this, may be some cracks at the end. Then also vary up the brush size, gives some of that in there. You seem to be dragging over the same area and a few spots just to give it just more randomness, get a lot of neat little textures in there. You can pull from an actual texture from a wood plank. But this is more the purpose of me showing you how to paint this type of stuff. You also want some areas on the sides that are darker. Now when I darken I tend to use Multiply, because it will darken everything, it'll darken the darkest dark and the light at the same time. I don't lose as much of my texture if you start to only paint with normal mode. The more you add paint, you can sometimes lose bits of your texture and your paint work. I'll set the Multiply like this. You see, I'm just trying to randomize the effect a bit more. You can really just keep getting in here and really enriching this because some wood grains have just so much detail. In this case, I'm not going to go overly detailed because I want to show you a few types of textures in this lesson. But I just more or less want to show you the process in which I would try to create these. I catalog these just so you know, so when I create stuff like this, I save it. I know we all save our work, but what I mean by cataloging it, is I save it specifically in categories of this type of thing, so that I can find it later and reference it for my work. These practice studies aren't just thrown into the background and never seen again, I'll use these as ways to save myself time on future work. Just remember that, because if you get in the habit of doing that, you'll start realizing there's lots of ways to recycle your own work, which in turn will make you a lot better at producing work on deadlines. It's your artwork. You should be able to reuse it. Just remember that. I'll just sit here and get a little bit more texture in here. I don't want to go to insanely crazy, but obviously the more you add and the more subtleties that you can get into the work, the more it will start to look somewhat hyper-realistic. It doesn't at this point, but that's the way that you do it. Then after I get as much data and from a distance I'll start to zoom in. But I do like to work from a distance as much as possible because I feel that if you work too close, you miss things. Then the other thing that I'll do is I'll take the Dodge tool and I'll just punch up a couple quick light sources. Now, this is something I'd definitely like to do from a distance because light sources can be overdone really quickly. They tend to look really cool. So we want to just like put them everywhere, and that's something that you got to fight the urge there because you don't want light sources everywhere or they lose impact. You want to just add them in just a few places. Subtlety is everything when painting. I'll just maybe add little bit of light source on the edge of the board to punch up a bit of that depth. Couple little areas in between here and there. You just play with this. You don't have to use the Dodge tool. You have got to be raw. Notice my exposures are really low. This will also be dependent on what your settings are for your tablet. But I use that just to get little bits of variation. The other thing that you can obviously do is take the Alt key, hold over the light source or any of the lighter colors, and that becomes your paint and then just start painting that back in. I'll use it and this is got to be set to normal now, or screen or something that's going to lighten it. Multiply won't work with a lighter color. I think it's still actually ends up darkening it which is strange. You don't have to use a soft brush the entire time for this. Oftentimes, I recommend that you do mix up a couple of brushes, but I just want to also show you that this brush is pretty versatile by itself. One of the things that I tell if you're a beginning artist, trying to get the hang of this stuff, start with as little as many brushes. Start with a basic set and really get a feeling for what you can accomplish with that basic set. Then start getting into all your custom brushes and things like that. Because if not, you can get bogged down into trying to figure out what brush does what. Just remember that they can all do each other's jobs. Okay, after we've got a fair amount of texture in place, you just keep noodling around and try to get more and more depth under your piece. You can also take the Dodge tool or the Burn tools sorry, set the shadows on mid tones and you can just punch up a little bit more of that variety and in depth basically, darken the darks lighten the lights. Again, do it very subtle and take your time with that. Pretty much as quickly as that we have relatively decent piece of wood plank, stylized of course. Let's go ahead and move that over here and we'll just set that right there for now. 2. Lesson on Painting Wood Fire Ice in Photoshop Part 2: Now, for the next part I'm going to show you how to do a flame, but let's go ahead and give a background to this for more contrast. Let's try, a really dark blue should be good. For some point that, let's also give it a little bit of noise, so I add noise. You know what? Let's just take that off, let's just go black here. Just like that, a little bit of effect, so I'm not just staring at a plain white background specially when doing a darker material like we're getting ready to do. Something like that should be. Obviously you can get back and start highlighting the edge of the wood more now, you'll see more of that against the start substrate. We'll double-click here, call ''Background''. Let's go ahead and add a new layer, and let's start with, let's see, probably a really dark burgundy, and we'll start with a stippled painter brush, just to give some of those wispiness to the effect as we start to paint here. What I try to do with flames is the main pitfall that I see with these is overly pointed edges and not enough randomized effects in the flame. It's just really easy to get this boring, repetitive thing going on inside of a flame pattern. That's what I have to fly in my own way of thinking when I try to make this. Now, the beauty of digital is you can just keep adding and subtracting and you'll eventually get there with enough time, that's why I say it anyways. But the more you can figure it out, the quicker you get there and I would say the more paintings you can knock out. We'll start with burgundy, and then we'll move to more of a bright red, not quite that much orange and I'll just picture that. We're working up just lightly with the hot spots or adding to the flame, will get a couple of really hot areas, probably more to the middle. The other thing I think that helps with flame pattern like this, to randomize it is to start smudging. You can use the same brush, so you see this is the wispy brush I was just using, a stipple or you can mix up the brush, I'll use the [inaudible]. This is good for moving paint around it, it burns a little bit, but it moves the paint around as it blends. This is good for like creating a bit more randomized shapes in there, getting rid of some of that texture because you don't want too much that texture. Flames are a bit soft and some areas so you want to randomize this. What I'll do is take a little bit of that dark move it around, so I'll get some of that in there like this. Some of those little points that you get inside a flames but not a lot, and this is going to depend to on how stylized you really want this to appear. I will also use a smudge brush to change the shape of the edges as well and bring that around. Now, for the next color, let's add a bit more orange, probably just grab it from that wood grain color, but I want a bit more orange in there and I'm just really softly going to paint this in now because I'm really trying to figure out the shapes. Sometimes, when I'm painting, I don't necessarily see exactly what I want to see into my painting yet. When that happens, I just try to paint a bit more softly and work up to it. I'm just taking my time and trying to figure out where the hots pots would be, where this orange should go to really give it some depth, and making sure to do small separations as well so that everything is not connected. We're going to just very light and we go to some edge work up here. Some tips so flames making sure not to make them look too repetitive hopefully, I can swirl and [inaudible]. Again, I'll probably fix that with more the smudging and keep in mind that I'm sizing the brush up and down as I'm painting, that a little bit more variation to what I'm doing here. Now, let's go ahead and add a bit more yellow or hotter yellow like this, and really light. Now, you can add layers at this stage if it helps you but for this exercise, I just want to paint this right in. But you know the unique thing about adding layers when you're doing something like this, as you can blend each layer individually from the rest of the paint work. There's pros and cons to each, but like I said for this particular exercise, I'm just trying to do it all on the same layer and show you that effect. Again, just softly painting that and taking my time, not just blobbing it in there. Just because I feel like it'll allow me a little more opportunity to see what I'm doing and hopefully get that effect. The other thing is to stop and move your paint around, things like that, flipped the canvas, you'll see a lot of artists do that, and it just allows you to get another perspective on it. Now, the other thing I'd like to do when doing flames or power effects, and probably at the stage, a little bit more yellow. But pretty much at this stage right here is I'll take the Dodge tool and I'll just punch up and immediate light source so I'm picture on it this needs to be the most hot, like right in the middle. But not only in the middle, that's why I definitely want like a very strong bit of light source. The Dodge tool is great for adding these quick effects and really making it look like it's glowing, renaissance like firewood. I'll do that and then I'll go back to the yellow, I'll keep painting this in the middle. Now, the other thing that I want to do, I feel like I'm getting too much of this particular effect, so I'm going to do two things. I'm going to blend a little bit, get some of that blended bag, I want to keep some of that hard edge effect in there, but not nearly as much as I'm getting. I'm going to just soften up some of these edges, so if you notice, I'm just glancing around, no particular rhyme or reason. Then I'm just watching the effect that I'm having on it as I blend it back and forth. I'd say the shape, I have a little bit better idea of what I want to see shape wise, I'm doing that with a little more purpose I guess. But the rest of it, I'm just randomly softening up different areas. This is also where making a backup of the layer, if you're less confident about what you're doing, then this is where you would simply hit ''Command J'', pick the visibility of the previous layer, and then start making your effect changes this way. I'm going to go back to the yellow again, I'm just trying to figure out where I want to see some hotter spots to this flame. I'm also going to change this to a soft brush now. Again, I just try to mix this up a little bit so it's not all so repetitive. Okay. Now with that much in there, let's try again with the Dodge tool. We will start this right in the middle. I'm going to really push the hotness up now, so I'm just really punching up that light source a few areas. You see it's going right to white or almost white and I'm going to actually paint it in with white if I have to. At least that's the way I always see flames, the hottest part is going to be white sometimes there's some blue in there. I need to study obviously your pictures and your photos to see exactly what you see when you're studying planets. But that's something I always seem to notice, is that it gets this really so bright that the yellow turns to white. I think I'm going to paint this one with more of a solid. Let me go back. I'm just going to use my chalk painter brush now. I feel like there's a little more control to these little hot spots where I want them. I can sample a little bit of that yellow. Because I think each area will go from the same effect, like the burgundy to the orange, or red to orange, and then to the yellow to white. I'll repeat that effect here and there. You see now I'm sampling from the existing color palette. I'm just painting back and forth and picturing where little areas might be starting to resemble the hot spots, but maybe not as intense, getting some little texture in there. Might sample some of the dark area and paint that down here as well. Then I can even do little bits of like the embers coming off or something like that so I can take a few little smudges and dots and have those come up over it. Sample the next color. Let me zoom in just so I can make this out a bit more and so you can see it a bit better. The same thing, I start with the dark tone, grab a little bit of a brighter tone hotspot. Here's just a couple by themselves. This type of texturing just gives a bit more effect, I'm feeling to it in my opinion. A little bit of those highlights, like that. I'm pretty sure there'd be a little bit more of this kind of wispy yellow through here a bit, and grab some a little white. Basically that's the repeat process that I would do. Then I would just keep bouncing back and forth, moving some of those color around and experimenting. The more I experiment and change things, like I said, I would add a new layer. If you look, it went from this to this. That's why I always recommend making a copy like this because you can really see where you're going and what changes you're making incrementally that are benefiting or taking away from the painting. I'll probably get back in here with the smudge brush and move some of those stuff around. Each time you add more paint, you can smudge it around again and it has another effect because you've got more paint to play with and create some new shapes with those new colors that are in there. I recommend going back and forth and trying this, and maybe change the outer shape as well. Another thing you can do to the fireball, let's copy this one more time so I can keep showing you the changes, is you can also set a brush to overlay and more of the oranges or yellow tone. The beauty of overlay is it puts the color in there, but also punches up the light source. That's a neat way to add effects to the flame as well. We can get that on the closest areas and make it a bit more vibrant. If we take that other one behind there now you see it that just punches up the light source a little bit more. It's really just combining all those effects and just painting back and forth and getting to the end result that you want. One last thing I'll show you even with this, is you can even take an area that you'd like, like this. Command C, Command Shift V, move it over, Edit > Transform > Flip horizontal > Command T > Move it, even warp it put into place, go Edit > Transform > Warp. Just like a particular part of the painting and I can warp that into place, I can use a soft arrays to blend it into the existing painting, so by just soft erasing the perimeter of it. This can be useful as well for just like trying to control certain parts of the painting. Like I said, if you see something in your painting that's working well, this is just another way to edit that work. That's the really neat thing about digital painting is there's just so many ways to do it that you can just keep experimenting until you get to what you're after. Then if you start to get a little bit layer heavy like we do here with the flames, just hold Shift, grab each one of these, hit Group, just call this Flame, and then all the layers are in that group. Before we go to the ice, actually I want to show you another thing like so what the wood pattern here. Now with the background, it's not feeling as impressive as I think it should to convey the look of wood. I just want to show you again, you can keep getting in here, punching up a little bit of shadow, go to mid tone. The Dodge tool or Burn tool, I should say dodge and burn, control mid tones, highlights, or shadows. By grabbing each one of these, you can control just the mid tones, just the highlights, just the shadows. That's a nice way to edit your work as well. Then obviously painting over top yields the results like we've been doing. Then I can punch up to the light source. Let's say that, just so there's a little bit brighter light on the side of the board here. I can get into the areas where the wood grain is and brighten up some of those in-between areas as well. Then of course, we could even say this flame is casting some light over to the wood here. We could take this. Let's set it to overlay. Let's first lock transparency on that and we can just punch up a little bit of that light source over to the woods edge there just to make it look more believable next to the flame here. Then in comparison to that, we can take the darker tone here and darken this side for a little bit more of a shadow and maybe even just a slight edging where the flame is hottest. Just little things like that that tend to start to make it more believable in the space. Just keep going with that and try to really get it to look more realistic. The other thing is you can play with levels. You can control contrasts and now parts of the wood like that. The material that you're working with, you're basically controlling the highlights and the shadows interactively. I'll usually hit Okay and hit command Z and see if it was for better or for worse. That's a little saturated. I'd probably take hue saturation and drop the saturation just a little bit. Or another way that I'll tend to do things is again, make one more copy, drop the saturation and then I'll erase the top copy like this because I basically want the saturation on this side to still be there, where the hotter part of the flame is. Just little things like that start to add up as you move through the paint work. 3. Lesson on Painting Wood Fire Ice in Photoshop Part 3: Okay, now let's go ahead and work on the ice. Probably I need to make some room. Let's take the wood layers, and I think all these but at a group as wood. Now let's go ahead and move these over, sizing down a little bit. That's the other beauty of using the groups. Then it becomes a lot easier to maneuver this information around. Okay, so for the ice will just do a block shape. I'll try to just draw this selection and just to save time, but I typically would create maybe a sketch, and then go from there. There's really no right or wrong way when you're doing this stuff. Anything that you feel comfortable with. I'm just going to call this block of ice. I'm going to start with a bit of a blue, bluish gray. Lengthen, lighter under here. That will be my base color. Come here and edit the de-select. Move that over. Okay. The shape doesn't have to be perfect because again, there's so many ways to edit, but I'll go ahead and name this ice. With this one, I want to start with the hard brush, probably a hard round. I want to first define the planes. So I'm going to get in here, I'll set this to normal mode. I just want to define the planes. Actually this is going to be a brighter side because it's by the flame there, but this is just to get us started. These edges don't have to be perfect. Again, it's block of ice, so it's going to have some irregularities to it. Now keep in mind that if you want to keep darkening with the same brush, same tone, you can set it to multiply. You slowly add to that. It can't lighten with this, so I don't really recommend doing this a lot, but it's good for just quickly getting in a little bit of dark on this side. Again, I want some irregularities, so that's why I'm brushing these different shapes. Same thing here, I'll start with getting some of the irregularities in here, but I'm going go back to it being brighter because it's next to that flame. Let's go ahead and take the brighter, and let's set it to normal. Let's get into some of this light source here. We have to perceive that the light's catching the edge of some of this irregular shape area to the ice. We want to get some of that in there. Even some over here where we just want to really push the effect that it's got some different shapes in there. Now the other thing that I would do, if I can't blend well enough to get this to try and make the transitions blending. I'm just holding Alt and selecting each tone that I create by overlapping it. I'll first try that to blend a lot of these shapes out of there. Again, just holding Alt just see pretty much of my thumb. I do have my thumb on the Alt key and I use my right hand on the keyboard, on the bracket keys. That allows me to change the size of the brush as I'm going interactively, and then also just occasionally tap the Alt key for selecting the new color of a man. You get pretty quick at doing this with practice. This is how a lot of people blend entirely. I use a couple of methods, but the more progressive paying them more and more I use this effect. You see that starting to give us the look of ice, and then we'll want an even brighter light source. I try to stay away from pure white for as long as possible, so that I have that as my last resort to really punch up the extreme light source. The other thing to think about is that ice is pretty specular, so you're going to get it a lot, a little tiny points of light. Then you're sometimes going to get areas that transmit light from one area to another. It's good to try to think about that as you're painting to hopefully get that into your effects there. I would almost perceived a lot of this is going to be brighter because again, it's closest to the light source, and will probably need to get some of that light source end of the ice, but we'll do that at the very end. Again, I want to get a little bit of bounce light on the edges. Couple little pen lights here and there for specularity. Even a little bit of light source on the other side. Probably going a bit a bounce light because it's such a reflective type material. You got a picture that light works its way around and can end up in more obscure places. Again, I'm going to go right to the Dodge tool because it's one of my favorite for specular objects, and things like that, I've targeted enough of this in place. I go to the Dodge Tool and glance across some of these areas, and really try to make it look more glossy in places. Keeping in mind that you don't have to use a soft brush for this tool. It's my go-to brush for the Dodge Tool. I like the way it works, but any brush can be used with any series of tools in Photoshop. If you want to try hard brush reflects for this by all means do it, they all work together. So this ICF effect obviously you can add to this and do things like add a layer beneath it. Try maybe like a bit of an area where it's, looks like it's melting, and you can obviously sample from your existing color palette here, and just get a little bit of glossing this like this. So just little things like that to push the ROM or whatever. You can still add the Dodge Tool at just the very edge and add glossiness there. I think the trickiest part will be making it look like we see some of that reflection from the flame, so let's go and try that now. Okay, so I'm going to show you a quick cheat, I'll see if works, but it's always worth a try. Instead of trying to paint all that in, I can easily just sample the colors that are here, paint into another version of the cube here. But I want to show you another way that sometimes can save a lot of time, if we can get it to go. Let's take the group here, the flame hit "Command J", "Command E" and what that does is it copies everything that's in the group and makes us a flattened copy of this flame. Now what I want to do is hit "Edit", "Transform", "Flip Horizontal", and I just flipped a mirrored image of that. Let's hit "Command T" scale it up a bit, and then let's hit, I'm actually going to tone down the opacity so I can see what I'm doing a bit better. Then let's hit "Edit", "Transform", "Distort". Let's actually distort it, so it looks like part of it is being reflected into the cube here. So again, I don't know this is going to work, but it's always worth the shot, so let's try that. Then let's go ahead and take the ice cube here. Let's go select "Load Selection", hit "OK". That's going to give us a selection of this. Let's hit "Command Shift I", go back to the plain copy, hit "Delete". Now, let's take this bump the opacity back up. But let's change the blending mode to, let's try multiply, let's try overlay, overlay looks a little more realistic. Probably tone down the opacity, color doesn't work. So what I'll generally do is play with these blending modes to try to get the right effect. Hard light looks pretty just regular really, that looks neat. Then what you'll do is you'll play with the opacity, with the blending mode. This can be a unique way to quickly get that effect in there. I'm thinking something like this looks more realistic. Even though we're talking more fantasy, I don't know how realistic we can get it, but something like that probably looks a little more believable that we would see reflecting in the cube like that. Then you would actually grab parts of that and put it in the water here. But what I would probably recommend is for the plane change, I would erase each area like this. Then I would copy it again by holding, or dragging it over, shifting it in some way, just because with the plane change, it's going to change the distortion of the reflection. So you have to show that, even though it doesn't have to be entirely accurate, but just be aware of it. So again, we can create a selection from the cube, which is probably the right way, but I'll just try this real fast. I just want the top plane change, so I got to get rid of the rest of the information. Then probably even soft erase it from the edge because it's going to get blocked by the edge of the cube a bit, so you're not going to see it in full visibility right there. Then we can probably take this one since we just need a little bit of this color down here on the reflection, maybe about to here. Again, just to do it quick and probably the right way, you can take this, we'll just call it a puddle for lack of a better term and go "Select", "Load Selection", hit "OK", "Command Shift I" go to one of our flame copies, this one, hit "Delete". So there you see, it's a pretty, it's a poor man's way, or whatever, a bit of a cheat. But it does get relatively a decent effect that it's reflecting into that surface. So that's essentially just a quick and dirty way to do it. You got to be careful if you don't use your selections right, you'll end up with little artifacts like that you got to delete. So be aware of that for your finish work. Then we go to the ice cube, and we could probably say, well, since we do have the light source right there, maybe the sides a bit darker. So let's take the Burn Tool. Let's first try and mid tones. So that's about right. I'll usually bounce back, and forth from mid tones to shadows, and maybe even like that, I think that even yields a little bit nicer result. So just like that, it's really just playing around with this variety of effects. Then after you get this stove fire in place, you can always just keep going back in editing. For instance, let's go and take a flame copy, put it with the ice here. Then let's go, and group these together. Double-click here, call it ice. Let's go back to the flame, and let's see if, or I can do to improve that a little bit more. Like I'm saying here, essentially you just keep going back and reediting these, saving them so they have your own clip art to work from, so that you can grab this. If you're having a day where, you're not painting fire or ice as well as you'd like, you can remember where you're at with this stuff, and you can always improve upon these, and then go back to them. One of the things that I think could be a little bit better about this is, let's try to soften up the edge. I'm going to hit "Command J" one more time. It's always better safe than sorry when making these adjustments, create just a new copy of it. I just want to soften up the edges a bit, I feel like it just looks too solid overall. You can do this both with soft erasing this part, or just smudging some of your edges a bit more, and creating some more shapes in here, so I'm going to try that as well. I still feel like it just needs a little bit more hot spot effect to it. So let me try and go back to the Dodge Tool. Bunch up a little bit more light source in the middle, and maybe even a bit more white. So let me try that. Let's do that with, I don't know, let's just try the hard round brush. You know, and all of this is just experimentation. Trying to just continually improve where you're at with it, and it's not always going to get better. At sometimes you're going to need to go back a step and then study where you are at, study from life, and study from other paintings. Continually try to gain perspective on what it is you're missing in that part of your paint work. But that's how we progress, and that's essentially how you get better. So you just have to be aware of that, and not beat yourself up if something is not coming out right that day, revisit it. One of the things that I do if I struggle with something and I feel compelled to get better at it, then I study it each day for weeks sometimes. Just because it allows me to feel like, you know what, I'm going to get better at this particular part of my painting, or drawing, or whatever it is. Then after I see the progression of those weeks of study, and those mental barriers open up, and unlock, I'm just so thankful that I had put the time in to do that, and that's I think what has to happen with all these various studies that you'll figure things out, you'll figure out textures, you'll figure out shapes that are in that work, and then you'll start to feel a lot more confident with it. So it's worth doing those types of exercises. Now, it's like anything else if you want to get better at it, shear time and hard effort will make the most difference. It does help when somebody can point you in the right direction, but the focus, and determination that you exert by doing it, is what gets you the furthest in my opinion. So there it is. So you see, I just keep picking at it, and I don't even know if I'm making it better or worse, but I'm just going to keep trying until I get there. Hopefully, this lesson has shown you a thing or two. There will be more lessons along the way, so keep a lookout for those, and I appreciate your stopping by, and watching this. Good luck with your painting, and I'll talk to you soon. Thanks for watching.