Digital Painting in Photoshop: Create a Painterly Illustration | Jasmine Lové | Skillshare

Digital Painting in Photoshop: Create a Painterly Illustration

Jasmine Lové, Designer. Illustrator. Optimist.

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6 Lessons (25m)
    • 1. Welcome!

      1:58
    • 2. Show and Tell

      2:31
    • 3. Painterly Pumpkin

      8:41
    • 4. Painterly Stem

      5:41
    • 5. Extras and Details

      5:31
    • 6. Mini Assignment

      1:00
16 students are watching this class

About This Class

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Welcome to Digital Illustration Basics: Painterly. This mini-course is part of a basic digital illustration series, created to help aspiring digital artists enhance their creative skills and experimental practices.

In this digital art series, you will learn how to:

  1. Render and add form to your flat drawing using a few easy steps and basic brushes.
  2. Use your imagination and digital tools to create a graphic styled illustration.
  3. Experiment with self-made textures and manipulate them to create your own mini-masterpiece.
  4. …and more! (stay tuned)

This class is perfect for anyone interested in growing their digital illustration skills. It's so easy, everyone can do it! And I'm going to show you how, step-by-step.  Join now and let’s start creating!

Transcripts

1. Welcome!: Hello and welcome to digital illustration. Basics. My name is Jasmine Love A. I'm an illustrator and designer. Recently, I created this fun digital painting as one of my daily doodles for Instagram, using a simple line drawing and a few basic brushes. Join me as I guide you step by step through, quickly turning your flat sketch into a dimensional piece of art with a painterly style. It's so easy, everyone can do it and I'm going to show you how. By the end of this class, you will know how to build up and render your painting using a few fundamental steps. I've even included a sketch free to practice with and my color palette with the guys showing the order of each color I used many. Assignment is to bring dimension and color to a simple line drawing of a fruit or vegetable . This class was created for anyone interested in growing their skills as a digital artist. Are you ready to begin clicking role and let's start painting Hello again, everyone and welcome to my creative workshop. For this class, you will need a simple line drawing of a whole fruit or vegetable. This can be an old drawing or you can quickly sketch out a new one. Another option is to download my line drawing from the class project section. Before I drew my pumpkin sketch, I did a search on Google for photo references to get an idea of how I wanted my pumpkin to be shaped, colored, possibly textured, etcetera. When you search for your fruit or vegetable, be sure to pay attention to color variations the shape what you like about the shape, how the light hits it. Think about what are the things that stand out to you also. I made shorts exclude things from my search by using the minus sign right in front of the word as seen here. Now I'm gonna show you how I began my painting. 2. Show and Tell: for this pumpkin illustration. I used my iPad pro with the Adobe sketch and procreate EPPS. Today I'm going to recreate this art using Adobe Photo Shop with a Wacom tablet and stylus . I want to walk you through my iPad painting process to show you how I used some of the fundamentals of traditional painting to create my digital art meeting. Layering painting from light to dark buildup, color, variation, etcetera. I started with a simple line drawing that I drew my sketchbook and snapped a picture of I dropped the A pass iti to about 25% on a new layer with a very light color selected, I used a large translucent brush with a soft edge toe block in my pumpkin shape. I used the watercolor flat brush. I allow myself to paint freely. Then I erased away any areas that went too far outside of the line drawing. I wasn't being a perfectionist about it. I just wanted to keep it organic. Next, I gradually added darker tones in the shadowy areas and lighter tones for the highlights, making sure not to completely cover up the light colored under painting that I started with for the stem. I used the same buildup techniques from light to dark. I continue to add form and definition with slightly harder, darker lines. Finally, I added a bit of blue to the stem to give it some interest. I painted this pumpkin right before Adobe released major updates for all of their software and EPS, part of the Adobe sketch of day included. The ability to bring your photo shot brushes into your iPad app, which is great because now you have endless brush options. But because I didn't have that brush option yet and I wanted to add a little more detail to this painting, I brought it in to procreate. 3. Painterly Pumpkin: my doc sizes 800 by 800 pixels, and it is 72 d p. I. This was a painting that I did before filming the class. And I can tell you right now, every time I paint this, it looks different. That's gonna happen. The thing that you also want to happen is that you get better every time you paint it. So that's why practicing is great. So choose a color palette. I chose my colors from the Library of Adobe Sketch, Theodore B Sketch App, and I'm sharing my palate with you. You can grab it from the class project page. If you were painting something other than a pumpkin, you can use Theo eyedropper tool and color pick from your reference images that you found or you can visit color dot adobe dot com for colored names and inspiration. All right, let's pain. There are two ways to easy ways to begin Number one. You can paint from light to dark, you know, like watercolor painting, or you can start with mid tones than at highlights and shadows. As you go. Each way requires the technique of building. I like to keep my document as organized as I can. If I'm not going to be naming each of my layers and I'm just trying to get something done quickly, I will instead put my layers in groups. And then I'll give the group a color when you just do that by right clicking and then scrolling down to change the color of the layer or of the group, so any layer that is in that group will be the same color as the group. My first group is called Pumpkin, and I am starting with layer one. I'm just going to choose a soft round brush and bump up the size. I'm just going to start blocking in my shapes with light colors. The method that I'm going to use is the light start method. When you paint, make sure that you follow the curves of the pumpkin for of your fruit or vegetable, as if you're painting with a physical paintbrush. This will improve your muscle memory for drawing better curbs, and it can give your painting the brushstrokes looked, especially when you're using custom brushes, something that we will get into later in future classes. Don't worry about the sketch getting covered up When you allow yourself to just be free and paint, you'll figure things out as you go, and you also make adjustments to your liking. However, if you do want to see the sketch, just move your sketch layer to the top and change the blend mode to multiply on a new layer . We're going to choose my next color and then began chaining another slightly darker layer. Above that, I'm going to turn on the pressure for opacity button. Basically, when you have this turned on, the harder you press on your tablet, the darker your color will be in the lighter new press, the lighter the color will be. And so I'm just doing really light strokes from the bottom up. Since most of my shadows air gonna be towards the bottom. I like to start from the bottom and just flick my brush upward and keep building on that and again here I'm still following the curves of my pumpkin. Then I'm going back in and just using my eraser to clean up some of the edges that went too far outside lines. Since everything is being layered in their own different layers, I'm able to vary it. I can lighten up the capacity of the layer if I wanted to. I can just delete that color if I wanted to. Now I'm going to turn on my pressure for size, but and I'm also going to drop down my blow to 60%. So the pressure for size but it is just like the pressure for opacity. But the harder depress, the larger the stroke will be. The lighter you press, the smaller the stroke will be. Pressure, sensitivity. That's basically what it is. And so I am just painting in some of those areas that I know my deeper shadows will be. And I'm also gonna use this as kind of like the imperfections. Some pumpkins, you know, if you look at them, some of them have ripples in and where they're not perfectly round or smooth. And so that's kind of what I'm imagining here. What I'm adding here to my pumpkin. Okay. Onto the fifth color. This is going to be a highlight color. My sixth color is kind of like a lighter yellow, a beige yellow, and I just lightly painted that along the top. Now I'm going to turn on my pressure button again. Lower the size with the bracket key and capacity is down at 50%. And I'm just again going back into those areas where the punking premises R E don't know what those are called, but yeah, Then I'm going to turn off the pressure for size and paint from the bottom up again with those short, um, flicking strokes. Still making sure that I'm curving those strokes even though I'm painting with the fluffy your brush just defining my shadows more defining those imperfections of the pumpkin. Just kind of getting a feel for how I want things to look. And, you know, the more you build up, it just it will come together, and I just find it very easy to paint a fruit or something simple like that. For starters, before going into more detailed kind of paintings, this is a great exercise. From here. I'm going to be going back to my color palette and doing more refining and defining until I like the way it looks. Make sure that you zoom out. I didn't zoom out a lot when I was painting, but it really helps to kind of see everything all together. It just helps you see things more clearly and see if you feel like something's missing or something needs to be taken away, you'll be able to see that better when you sing. Well, I'm just gonna keep on going until I really like how this pump it looks like. I think this looks really cool right now. It's not done yet, but it's getting there and also shading and lighting. Just that just brings life to everything. Right now, I'm actually using the Blur tool to smooth out some of those ridges. I think at a certain point I was thinking that it got a little too uh, I guess just too many lines, and I started to blow it out. But now that I'm looking back at the video, I'm like, uh, kept it, but that's OK. As he continues paint, you'll gradually see your painting come together right before your eyes, and we will be just so excited about it and so proud of yourself. It's just a really it's really cool. You realize that you can do thes really great paintings, digital paintings like the ones that you see, or maybe you follow a certain artists anything? Oh, man, I could never do that. Or how did they do that? It's really just start somewhere. Start from light, Go to dark, add lighting at shadows. Anybody and everybody can do it. And obviously more complex paintings Take more time. Less complex paintings. Take less time. This painting toe about 30 minutes from start to finish. Okay, We're done with the pumpkin part. Next up, we'll be painting this thing. 4. Painterly Stem: all right, we're back and we are ready to paint the stem. So I am going to start a new group for the background because we're going to start with the light color and I want to be able to see what I'm painting. Actually, I'm going to use a solid color adjustment, and I'm just going to use the background color from the color palette that I have here. I'm just going to hide my, um, pumpkin color palette because I want to be using the stem color palette from now on. Start. A new group called it The Stamp painted green New layer, just according to move my sketch above, and it's already set to multiply, so now I can see it. And here we go, starting with the light color just blocking in that nice Kirby stem shape. And if I want to get a harder edge, I'm going to turn on pressure for size. But you'll see that I'm not following my sketch perfectly or exactly. I went ahead and changed my background layer toe a darker color temporarily so that I can see my stem way right onto the second color, a little bit darker and I'm gonna turn off my pressure for size button, and I'm going to make the opacity 100%. Start painting in that darker green color. With this color, I am giving my stem some variation between that light, the lighter color and this color, and I'm also starting to lightly paint in where I want my shadows to be marrying. The colors really add interest to your painting so that it's not all just one flat color. Or if you just think about like traditional painting where you have a color palette and all your colors are getting mixed up on your palate on your paint palette and you're just painting and then the result is you have multiple colors. So even though I'm not thinking about all of that when I'm painting, I'm just literally mixing colors, painting from light to dark and adding colors that I think will bring interest to my painting, my fifth color, the darkest green on the page. You noticed that I'm not painting the entire thing with each color, meaning I'm not painting all areas with these colors. It's I'm just like slightly brushing around certain areas. It's not gonna be a flat color on top of a flat color on top of a flat coat. I'm varying the a pass ity. I'm burying the flow rate for my brush. I'm varying the size of my brush. All of these things are making my colors here differently. What way, Theo? Color variation is definitely the most interesting part to me. Our eyes love color, and I'm really using a light touch here so that a lighter version of that color gets down at a time. It just really helps to not put too much color down at once. Thistles. So I really love this e really love how it's turning out. And I also love seeing it come to life right before my eyes as I'm paying that blue really just added it just added something to it. I love it. I'm just gonna use my blur tool to blur out some of those harsh lines in the stem. E think I'm finished here. Thinks painting took about for the stem. Maybe 15. It took about 15 minutes. Okay. It is definitely time to add some extras and details. So I will see you in the next video 5. Extras and Details: go right, We're back and we're adding some details. So I'm just starting with a new layer group and I'm calling it extras and details. Okay, So when I painted the details and procreate, there was a brush in there that looked like it was It had some texture to it, and it looked like maybe charcoal or crayon or something. And so I looked through Photoshopped standard brushes and actually found a few that I liked . I like for the flow to be at 25%. I have my pressure size on and I have my pressure opacity turned on. I'm just going to change my layer blend mode to color. That way, it'll lighten up those blue strokes, and they won't seem so harsh. I'm just gonna race away some of the bottom part of this of these blue strokes. If things get a little harsh, just erase away with a little bit of at a time. And so, for the red swirls that I wanna pain on a new layer separate from the blue ribs gonna use this fresh called watercolor Small round tip. So here I'm just adding these unusual pops of color This burnt orangey red and just like I did when I added the blue. It's just something that you know. It adds some style to it. It's fun and different, and you don't have to do yours exactly like this. You can do you know, whatever comes to your mind, Whatever you think of these air, just the details that I wanted to add. So or maybe you think maybe you're finished with your pumpkin after you paint and you don't want to add these details. That's totally fine to three. Important thing is that you practice and that you actually try to paint it because it is, it really is easy. And if you're someone who never thought you could do a digital painting or render something , you'll be very surprised and pleasantly surprised when you finish your painting of your fruit or vegetable. Nobody is just really great off the bed. It comes with practice. As you can see, I keep hitting undoing doing do because my curves aren't exactly perfect. But that's OK. And now I'm going to add in some blue, mixing the blue and the red together. And yes, they're on the same layer. I love drawing two things I noticed that I draw a lot, our hearts and swirls. I love drawings worlds, and I absolutely, I have always loved drawing hearts. It's just like a natural thing. It's like my hand writing or something. Here. I'm just changing the brush from a flat brush to a more round brush because I thought it might help with my curbs. A great thing to know about drawing curves is the more arm room you have, the better. So the more space you have to draw it with your arm and not really just with your wrist and your hand, the better your curves will come out better because it will be a more natural movement and be smoother. You'll be able to draw it or feel like you're drawing bigger with a larger swoops. Again, with practice, you'll get better and also with enough room that way. And so the final thing that an artist must do or should do when they are finished with their peace is sign it. So I just added a new layer called it Siggy, short for signature, and I'm going to add my initials to the bottom corner 6. Mini Assignment: congratulations on making it to the end of this glass. Now it's your turn to practice what you learned by completing the many assignment. Upload a simple sketch of a whole fruit or veggie. Add color and dimension to your sketch by painting from light to dark. Share your final artwork in the project gallery. Remember to have fun. Play around with brushes, blend modes and mark making. If you have any questions or get stuck or just need a little boost of motivation, feel free to create a discussion post on the community page where I or a fellow classmate will be able to help you out. If you enjoyed this class, please recommended to other students by giving it a positive rating. You're positive review really helps this class. Reach more people, and it helps support me as a teacher. Thank you for enrolling, and I'll see you in my next class. Until then, check out my previous class Photoshopped lettering. Modern script by