Drawing and Painting an Ogre Concept in Manga Studio 5 | Robert Marzullo | Skillshare

Drawing and Painting an Ogre Concept in Manga Studio 5

Robert Marzullo, Online instructor of Figure Drawing and Comic Art

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20 Lessons (4h 30m)
    • 1. Intro Video

    • 2. The Rough Sketch

    • 3. Drawing in Details to Our Character Concept

    • 4. Cleaning up the Lines

    • 5. Creating Our Silouette Selection

    • 6. Flatting in the Colors Part 1

    • 7. Flatting in the Colors Part 2

    • 8. in the Broad Strokes

    • 9. Painting the Leather Areas

    • 10. Painting the Shield

    • 11. Adding Shadows and Highlights to the Muscles

    • 12. Painting in Hard Edge Shadows

    • 13. Detailing the Fur Areas

    • 14. Cleaning up the Edges

    • 15. Detailing the Axe

    • 16. Detailing the Hand and Wrist Armor

    • 17. Painting the Leg Armor

    • 18. Refining the Edges

    • 19. Painting Imperfections in the Skin

    • 20. Painting in Final Colors and Effects


About This Class

In this class you will learn how to draw and paint this ogre character concept from start to finish. We will be using Manga Studio 5 / Clip Studio Paint to create this artwork. I will show you how to get the line art ready to create this style of painting. We will first sketch our concept. Then we will add flat colors to all the areas within the design. Then with those layers we will start apply digital paint. You will learn how to segment the work to make this process easier to do. We will cover lots of great features within this program for creating awesome effects. This program is ideal for creating fantasy art and comics. You will get access to all the art files and the brushes need to complete this class. Just use the note file attached to get the art pack. If you have any questions then please let me know!  -Robert


1. Intro Video: Welcome back everyone. Robert Mars Zuo here from Ranch studio comics. Today, I have a new course to show you. It's digital painting among Studio 5, creature concept art. In this course, I'll walk you through the entire process of designing and creating this character. From rough sketch to full digital paint, you'll learn all the techniques that I use to execute this type of artwork. You'll learn about how to refine the sketch, how to lay out the initial paint work. To make the process easier to accomplish to the details, how to itomize these areas and how to paint through these areas. it's a pretty comprehensive approach to designing this character from start to finish. That's really the way I like to teach these courses because by the end of it, you have a project, you have a character of your own, and you can see every step along the way. It's my pleasure to bring you this course. I hope you're excited to take it. Let's get started. 2. The Rough Sketch: In these next lessons, I'm going to show you how to create a character concept. We're going to try to keep it a little bit basic and I get to advance with this, but we'll cover everything that goes into drawing and painting this character. With that we need to first draw and design our concept. In this particular instance, I want to do a character that's a bit of an ogre, ogre I guess like that, with some water outfitting. Essentially what I want to do is, first establish some mannequin type poles. When doing this big brutish type character, I'll put the head row low on the upper body like this, are given these big hulking shoulders, tiny head by comparison, I have probably only end up being about 70 headstall, but the proportions will be a lot wider. I'll probably bring the character down to about here, maybe. We'll see how that goes over to illustrate the headstall model and at even shyer that probably was it closer to six, five and half probably six taller. We'll see where the legs end up but what I tend to do with this type of characters is really have them leaned over more. Again, showing that position of the head right there. I'll probably bring that a bit lower. Having the arms tucked back or at least one arm, I'll do some asymmetrical value here. I'll have one arm coming this way. Maybe let's see, touch back and then forward, I'll put a big fist at the end here, up here a little bit. I'm just going to crudely sketch this in. Do whatever you like, if you want to come up with a new and inventive ideas, you're doing this. I don't have to follow this verbatim, but what I tend to do here is just try to scrunch up all the elements in this type of character. It looks more brutish and I am going to end up going over this, the height of the head model there that I got. I want the body to appear to bend backwards. That's where there is leaning down in these downward arches for the chest. The belly looks something like that. The pelvis and then the legs coming forward like this, and then I'll probably go back again, at least one of the legs, maybe both of them. He's really just leaned over. You're getting this back and forth via the body even from this angle, something like that. Do the same thing over here, but I'll have leg a little bit more straight to camera. I like to do again some asymmetrical value as I'm doing characters like these. They tend to look a little bit more well thought out and realistic program. Some shield sinking like this crazy spike shield or something. Being this type of character almost like it's to the back of some, I don't know, reptilian animal or something or turtle or some crazy thing. This arm, I want to give them a big old just battle ax of some kind. I'm going to have the hand like this, something like this anyways. Then I am holding this bigger than life battle ax. Looks like no one else but him could pick up, him or whatever this thing is. There's just a quick representation anyways. What I want to really hit home here, as you see how crude this is and it doesn't look like much. There's definitely some resemblance of a character here, but, you'd tell them not overly worried about specifics or cleanliness at the lines for sure. I'm getting everything in place, given myself a starting point. One of the things that always think about when constructing character designs, pretty much anything is, not being afraid to make the first mark, and each mark thereafter like just continually making marks on the canvas and then slowly making decisions until you come up with something that hopefully you enjoy. They're not all winners with that. But, you just have to basically not stagnate your creative process by worrying so much about everything being perfect. Perfect's really something you want to get out of the habit of believing in when it comes to your art I picked, but that's just personal preference, you can take that as you will. There we go, we've got our concept, we've got our very rough sketch and you see it just again, extremely rough, but that's what I like, I like to keep the rough sketch in the rough stage for as long as possible because I think it lends, at least for me anyways, it lends to creative a thought process. It allows me to look into all this mass and see some different ideas. If I'm not so worried about making these perfect lines, then I'm not so quick to make poor decisions. I'm not so quick to say, well, I drew this leg so perfectly this way, I don't want to make any changes. I'm very open to making changes, especially while conceptualizing. That's an important stage of conceptualizing is making lots and lots of incremental changes to the work. Again, you don't want to stagnate that by thinking that it has to be so well drawn. There's our crude rough mannequin. I'm also going to have his head downward turn, that always makes him look a little bit meaner and more ready for battle thing. I think I want this head to be lower. I think maybe a touch bigger. But you'll see I adjust proportions quite a bit as I go throughout any process of my drawing and just so you know, you see it right up this is a 9 by 16 300dpi canvas. Pretty much a common size that I worked with anyways. This is a really rough sketch, I can obviously make that small, doesn't really need to be large and have any real pixel data. But, what I will do is we'll step this out just so we can watch the process unfold, like that. There's our step one, we'll double-click there, type in "Step one" and just like that, we've got our rough mannequin of the character that we're going to create. Now in the next lesson, we'll continue to refine this. Let's move on. 3. Drawing in Details to Our Character Concept: Now we're going to refine this a bit more for our Step 2. Let's see what layer one here. Remember I can hold space bar and move that Canvas around. That's our Step 1. This will be our Step 2. Drag this on top one another. Zoom back in here, space bar to move. Now what I want to do is get in lots of little details early on, so lots of little rough sketching, get some of that anatomy in place. Correct anything that I can. I want to give him these big, brutish arms, lots of definition in the musculature, so I'll do lots of little divides and separation in the anatomy. Then I want to put in lots of little details, so like one of the things I'm picturing under this scruffy fur and we want to call this, but just like a decoration, or maybe it keeps him warm, I don't know. I don't know that it really gets that chilly in this big monster, but it doesn't get cold. But anyway, it's just something that comes down. Lots of little details essentially is what I'm thinking about. You get like some of this little fur in place, maybe you have it come down and attach to some little design. Again, I'm just going to scribble things in because it allows me to slowly envision something and work up to any concepts. Also, I want to give him these tiny little eyes that will add to the size presence. A lot of times when designing characters like this, little things like the size relationship of the eyes or the mouth or whatever it is, in comparison to one another will convey a lot of different style or a different mood to the character. By giving them these small eyes and maybe the big brow there, just makes him look a little bit more of a brutish type character. Likewise, a wide mouth and a wide jaw line, things like that. I'll get that in there and these are all just lose details for now. I also think I want to add in like a bit of a crown type helmet with a couple of little spikes coming off the side, will try that and maybe a row of spikes down the middle. I'm thinking maybe like some little bands and connections around the arms for the chest plate so the arms will be exposed, but they'll be a little bit of covering with the chest plate and we're going to add some fabric or material across there. Yes, so the other thing is this lots of little details. If you can think of like cool places to put little things coming off the belt. A lot of times with characters like this it's fun to add in these little teeth that he may have collected. Maybe a skull on the belt. Just little things like he's constructed or acquired these things through battle and made it into his garments there. It can always be fun to think about stuff like that and again, just be creative. One of the things I always enjoy about doing this is that there's just no rules, there's no right or wrong. There's no, it's got to be this way. You mess that up, it shouldn't look like this. When you're doing this fantasy base art, there's just really anything goes, so you can just play around with concepts and really have fun with it. I'm always a huge fan of that. A little bit of anatomy here, again, still trying to figure out the size of the arms I want to put on this character. I want them to be pretty big, but it does have to somewhat look feasible, I guess. I start erasing back some of those light sketch lines. I'm going to use a soft erase to push back information and a regular darker pencil to draw in information and just keep repeating this process until I get enough work in here, enough ideas in place to get it ready for painting. Now obviously I could start painting right over top of this and I'm going to be a little bit more expressive in the paint stage to do that. But I think with this, I want a little bit more information in place to guide me, as I start to paint. I always tend to feel a little bit more confident with that process. Probably from coming from a more of a drawing background than a painter background. Now one thing I will say about the anatomy, if you struggle to get anatomy into place and you're still studying, study from lots of anatomy books, study from life obviously, it's an ongoing thing. It just seems to take forever, but it's one of those things that it's so complex that you'll just always be learning how to get better at it. But one thing I will say is if you do struggle with it, one technique that helps me is to start angular and then soften things up after you to get the angular information in place. If you'll notice, a lot of times I will put in a lot of these shapes with overly angular lines that are easier for me to direct and perceive in perspective and then I'll come back with a soft eraser and redraw it, and I'll add in some more organic type lines, more curvatures, more bends, to soften it up. Even in reverse, you may do better with doing that same concept in reverse. It's really just a mix of, in my opinion, the right amount of balance with angular and soft lines to get the good field to your anatomy and something that looks like it takes up space on the page like it actually looks like it has some solid foundation to it. I'm still trying to figure out the shape I want to see in this hand. Something like this. A trick with fingers is remembering that they always rotate as a clench and a fist or anything, but they're not straight across, always rotating against one another kind of thing. You see, I just bounce around, keep trying to get in little bits of this concept and get it figured out. Let's also start to add in more detail to any garment or amour that's going to be on the the gauntlet area of this character. Also figure out the way this shield will be shaped so thick in the arm needs to sit more inside like this, it's more visibility to to this arm. The shield will be more tilted like this. You can see all of this starts with basic primitive shapes, circles, oblong, ovals, triangular spikes, things like that. It's really just the more and more you start to think of it as very simplistic shapes, the easier it gets to construct this. I think it's just small things where you really have to simplify it as much as possible. Again, that whole process for just scribbling really does help you to see into the work a little bit more. That's why a lot of times I'm just putting in lots of little shapes and designs and then I'll erase this back and just keep certain components from it. I won't keep everything obviously, but it all adds to that end result. I think too what I'm going to do is have a bit of designs here, but I'll probably have his toes hanging out. Take a creature like this would probably be more prone to having exposed toes like that. He's so tough, he doesn't need to cover his tough feet. Starting to get there still a lot of things I don't like in the design, but I just keep picking at it. I also like to over accentuate certain areas too. If you notice I've got the big oversized hammer and that's part of that. Battle ax, whatever this thing is. It's fun to characterize parts of it and make things just overly accentuated in the design. I think that tends to look a little bit more creative by the time you're done. I'm still trying to figure out this armor on the arm here. I'll probably take the hand and increase the size of those. Like I'm saying again about the caricature feel like they get always looks cool to have these big brutish hands on character like this. You can see, I just can take that marquee tool and to scale it up real quick, play with the tool. Always play around with little adjustments like that. Especially working digitally, but just generally, anytime you really want to get the most out of your art, by incrementally making these changes and if the more you get in the habit of doing that, the more you'll find out new things about your art, and get better and better at experimenting, coming up with new things. It's just important to do. You see like I don't have the alignment here off to slight that move it over. All right, so now what I want to do is compare that to the previous step. You can see a bit more information getting a bit closer to one and welcome force. I don't want to add in lots of little details and refine the work for paint. What we'll do is I'll finish up here. This would be Step 2 and move onto the next lesson where we continue to refine this. Let's move on. 4. Cleaning up the Lines: Now let's add in some more details and get ready to start cleaning this up a bit. Essentially I want to finalize some more details with pieces like the leg armor. I'm thinking here I want some piece that sits more on the front, so maybe it goes to about here, like this, and then it has connecting straps that go around like this. Then it can have some edging and then maybe some pattern or something like that. Just scribble some shapes in here, maybe they're scales or whatever. Again, try to be creative with the idea and just play with some concepts to see what my imagination can come up with. Something like that. Then obviously it's got to have a little bit of roundness to it to make it look like it's going around the shape of the leg there. Then for the top part of the leg, I'll just have some anatomy, some musculature there. Same things. Repeat that process with the lower leg here. Then we get some scaly texture. I'll probably put lots of little details and the veins going over the bones and things like that. I think it always looks cool to over detail anything like this. Especially when it comes to like a monster, you really want to go crazy with all those little details like this because it makes it look a little bit more hairy. It's fun to do. Likewise, I'll probably even take the feet and scale them up even bigger. This one will probably look a bit larger since it's off to the side. That change in perspective should look a bit wider than this one since it's coming out towards camera. Now what I want to do is figure out the detail for the chest plates. I've been avoiding that, still waiting for ideas to spark there. But ultimately, it comes along that thing where you have to settle on something because if you're just continually wait for the best idea, this great idea and it doesn't occur, the clock's ticking, you got to get this stuff done so you have to make a decision. Sometimes it's not always, again, that idea of perfection and the perfect decision, but a decision nonetheless that gets the work done. What I want to suit the chest plate, I'll be honest, I don't know here. I'm just going to decide on something so we could do a strap across the chest like this. Overlapping details are always great for characters like these because it just gives a more areas of interests. We could even do a thinner one this way, a thicker on this way. Maybe this holds the case on his back that puts large, cumbersome acts into whatever, or maybe he's got a different a sword or something, or a mace or something on the back here. You could have a big handle coming up in the back here. Again, all these little details just add to it, maybe add some shapes like this, not really sure what these are yet, just trying to add in some different geometric shapes to the design. We can always detail in later and figure out exactly what these might be. Always was playing help designs as well. Have change that up a bit, seem to that a little more. Those are pretty crude rough sketch and it's about ready to start cleaning this up. Generally what I do here is just take this and soft erase it. You can blue line it so whatever you feel most comfortable with, obviously the blue line is just going to click right there and you can draw over top of that. That is a good idea if you really want some nice, nice clean lines, I'm not too worried about that since we're going to paint through a lot of this. But there's just different ways to do each thing and I'm just going to go ahead and soft erase this. I always feel like this feels a little more traditional so I like working in this way. I'm just using that soft erase, gently pushing against the screen just to push them as information back and then now get in here and start to detail this and try to refine my line work as well as make final decisions to the concept. Now we're going to go in and clean up this line work and add in our final details at the same time, I'm not going to go for an ultra clean version on the line work, but enough to where the painting process is going to be a lot easier to do without thinking about the details. I'm also going to create a flipped version of this so this is obviously sped up. I'm going to create a flipped version by going to "Window" and creating a new canvas window, so Window, Canvas, New then I use the little navigator window to the top right to flip one of the canvases. What's really neat about this feature and allows you to work on things like the symmetry. One of the areas I always struggled to get symmetrically correct is the face and this helps me to do that, as well as throwing in some angular lines here and there to, again, check that perspective. This can be a really neat feature and it's only one I've found in all the different programs that works just to perfection where by being able to flip the one window and work seamlessly from either window, it automatically adjusts the other window. It's just a really neat way to work in a reverse copy and spot flaws really quickly. I highly recommend that. So again, it's Window, Canvas, New and then use the navigator window to whatever window is selected out of the two, those navigator options in the lower right will allow you to flip the window or do a variety of things, rotate and all that. Again, you can do that independently of the other window, which is nice. Back to the drawing, I'm just using a continuation of soft erase and redraw methods to get the artwork where I want it, so you can see I'm making some pretty significant changes as well as a lot of just incremental changes and that's really all I do to work through concepts. I don't always know exactly what I want to see their sometimes an idea will present itself as I work through it and it'll be pretty detailed in my imagination, I guess pretty clear cut to what I want to see and then other times I really struggled to figure out a concept of a certain element, especially in a character design like this where I was really going for a lot of little details. It's nice because you can generally really let loose and do whatever you want but at the same time when you have lots of little details, there's also lots of information to maybe get confused or stumble upon. But again, use the sketch lines to your advantage, really slowly build up on the process, draw lines in and you'll see here I even tried to change the foot going with a more human-like foot structure, I ultimately decided against it but this is just me doing the experimentation that I like to do, to say, "Well, could it be better if I did this? Should I do this?" Then once I ultimately decide against it, I just go back to the other one. But I'm always trying to experiment. I'm always trying to create new things and not necessarily decide on my first idea. I guess exploring the opportunity for better ideas as I draw through this. Obviously if you really stumble, you can start to look at reference, get inspiration from other shots, whatever it is. One thing I will recommend when doing these types of character designs you don't want to just feel the need to look at things that might even be in the same realm as this. You could pull from all things so you want to think about nature, about plant life, about different animals, aquatic animals. You really want to think outside of the box when it comes to collaborating or collectively adding all these details together. The more things that you can pull from will make you more versatile and it will allow you to not get bogged down and also not search for just the right thing in that realm or that genre. You'll start to go, I could just pull from all areas and nature and combine those together to form all neat new creatures basically. Here, still trying to figure out what I want to do it, that chest piece, I end up going with just a texture material that I'm thinking of painting later. One thing I will say is that when I'm drawing all this, I'm actually trying to envision myself painting as well so I'm not just trying to get the line work correct, I'm also thinking, what it's just going to look like when I paint it? What am I going to add to this area and this area? But the line work again gives you that paint my number effect and gives you those areas of reference so that you don't have to think so much about that. When I go to paint should be a lot easier of a process because I've illustrated all the things that I want design wise into the character. I struggle with the accent here a bit. Things like this can trick me up at times. It's really more of a perspective thing and how I wanted the x to be pointed it. Obviously, it doesn't have to be pointed in the same direction as his forearm and the hand but it makes sense to have that. Here I throw in like a little bit of a fantasy art Joule so as you see, I'm really trying to add in lots of little details, I'm also trying to make things not to design-oriented from one to another. I want this character to look like he's just ravaged about collected all of these things and that maybe some of them have nothing to do with other areas. Then here as I keep painting back and zooming in, I realized, well, I want some more asymmetrical value in this character, and that's what you see me doing here. I just really like having that effect that one side is not completely a mimic of the other side. I think it adds a lot more area of interest to the character design. That about wraps up this part. In the next stage we will be adding some color so let's move forward. 5. Creating Our Silouette Selection: Now we've got our line up ready to go. We're going to need to get this ready in another way, and that is to create a selection around it. We're going to go do away with this window, and just remember that's an exact duplicate of this window. So there's no need to worry about re-saving a separate copy or anything like that. Just once again, just in case that wasn't too quick a speed in the previous video, you just go "Canvas", "New Window". Then once you have the new window, you can always sandwich these windows wherever you want, which is really amazing about this program. Then you just simply hit "Flip". You can flip it horizontally or vertically, and there you go. It's pretty unique and a wonderful feature to use. Now, we've got our third version of this. I'm going to go ahead and create another copy. I actually like how the darker lines look, but I'll just make this our step four. What I want to do here is actually quickly define a parameter selection of this. The way I like to do this is actually just blue line it. Remember that you can take the blue line off by just toggling it. You can also change the blue line to any color you want by picking a color here and using the paint bucket there. You can make it orange, blue line, or whatever you want still toggles on and off just like that. A really neat, versatile way to colorize your line work really quickly. You can also bump down the opacity. Then what I'll do is I'll just take something solid like the G-pen. I'll zoom in here real tight and also test the line work. Now, something to be aware of, when you're using the G-pen as an actual line definition tool, I recommend that you take the anti-aliasing off. It's going to be a little bit more rigid to the edge. But as a smaller line, it's going to give you a more crisp selection. Looks cool with this one here. Yeah, something like that. Now, this doesn't have to be perfection anyways, but we want a pretty good selection line. What I'm going to do is draw around this. You see if you get really close, you're going to get some pixelation. But from back here, it's pretty clean and that's what we want. Now, what I'm going to do is really I can use this as another opportunity to make any final changes to the artwork. But I really try not to think about that too much at this stage and just quickly define the line that I want for a selection. The main thing that I focus on is just, I guess speed is one of them because I want to hurry up and get to the paint work so it doesn't take too often long. But the other thing is just that the lines are connected. But I don't leave any open gaps because that can be problematic when you're trying to do this. I'm just going to quickly go around here. I'm not too worried about the line weight. I'm adding some. This is just going to be a selection. The selection on the inside, in this case, it would be this side of the line, is what I'm more concerned with because that's going to give me my paint perimeter. As I go around here, as you can see, I'm skipping those light sketch lines that I had in place, so I got to ignore those. Just getting there like that. Again, checking the work as I go, making sure I don't have any big line gaps. They would have to be a little bit sizable for it to not select properly. You can also use a Shift-click method, but I really don't recommend it. It's not bad for technical drawing, but for character design, it's a little bit better to just use freehand methods. Just keep in mind that two ways you're generally going to get a smoother line is to either hold the pen to the Canvas for one steady pass, like you see me doing here. So I'll start from up here, seems a little bit better point downward, and I could almost just continue this as one smooth pass almost with the same speed and without lifting the pen. Another way that works well for a lot of artists is just to do a quick pass like that. Generally, if you do that, you're going to have to clean up the overlaps of the lines. I'm not going to do that here, but that's another way to get clean line work. Then the other method, like I said, is using Shift-click with a really fine brush. So that works more effectively for mechanical designs, perspective, things like that. But again, for organic type lines that I'm after here, I'm just going to use the pressure sensitivity of the brush. Hold Space bar to move the canvas around. Remember, you can use the snap two function inside of this program by holding whatever key it is. For instance, the Space bar is what I'm using right now and it's snapping back. But I can also hold R to rotate the canvas and I'll snap right back to my pen. Hold Space bar, and it will snap back to the pen as well. Anytime you hold the key and release it, you are actually using the snap two function or feature inside of this program, which again is very versatile because in most programs, you would have to toggle to the individual command and then go back. In this one, you don't, so it's pretty effective. R, rotate, Space bar, move. I really don't have to be that critical at this stage because there's lots of opportunities to edit the work as we paint. But if it doesn't take too often long, I try to get in as much clean line work as I can. But again, the thing I'm really focusing on here is just the silhouette of the design. You'll notice a lot of painters, especially as they become more and more confident with their paint work, they'll tend to paint a silhouette first, even above and before drawing like we did here. But it all really depends on where you're at, and what style of the creation process you enjoy, whatever you feel most confident with. For me, it's still the line work at this stage. I try to practice as many techniques as possible, but the line work is still just feels like home to me. Something like this. This the handle to the sword or to the [inaudible]. Basically, it's animated so I can really let the lines as free flow. They don't need to be so specific. Remember that could be set for most of this illustration. It's pretty animated and fantasy like so it doesn't need to be so definitive or so specific in the line work. It can really have some variations there. After all, that's pretty much what style is anyways, it's just the variation that you put in the work. Almost there. Let's pan back a little bit. Taking what we're doing a little more. I just like to be zoomed in so I don't miss any edges. The other way to do this is just to use the marquee tool. If you feel more confident with drawing with that tool, it's probably a bit faster, but I always feel a little bit more confident using the G-pen. Well that's just how I tend to do it. But again, experiment, we all create in very different ways. There's tons of tools in this program, so utilize them all, you could even use the magic one. Now had I tightened up the line work another degree or two, then I probably could've just did that. But I didn't feel like the line work was tight enough yet and I didn't want to go back through and will feel the urge to clean up every single line. This is the way that I do it too. Usually be the most timely about what I'm doing here. Again, R for rotates, base for move. Continue doing this. Once this is all in place we'll be able to create that selection, create our large flat fill and then go from here and start adding in some odd painting effects. Do want to zoom in just a little bit more here. Every time I rotate that, it's just because I feel a little bit more confident with a downward pull and a pull to an angle and down to the side on my screen. That's really why I'm adjusting this so much. They don't really need to all be selected like I'm doing here, because generally the way I paint this type of fur or hair or whatever it's construed as, I could essentially just paint that in. But I'm just going to go ahead and get at least a few of these shapes. But one thing I do like about getting these shapes in place first and then painting through it like that, you generally will get a little bit more animated field to the further hair, which I think can be fun. But generally if I'm just painting it, and go for any type of realism or whatever, I won't do as much of the individual strands like C or clumps maybe I guess is the way to say it. Individual strands would be a little bit more realistic. But for any animated style, a general will do it where the hair is represented as larger bulks of shapes. Almost there, all of this can be connected, no worries there. You're going to trace on our little arm band of skulls. I thought that would be cool. Not generally a very morbid person but [inaudible]. Almost there. One thing we could do here, what the hell does just do one side and copy it over obviously but I generally will try to create a free hand at least the first time and see if I can get the good symmetry going on. If it's just too far off and it doesn't look acceptable on the piece, then obviously I do the flip cheat and fix it. But I'll always attempt it because I would always like to be able to do it without any extra tools and extra helping hands, but at the end of the day, whatever looks better is definitely what I'm going to use. Likewise with the speed factor, if it's quicker and it looks better, then I'm going to use a digital tool or technique because it's all about the quality at the end of the day. We've got the separation in between the arm and that should be it. Now we jump into here. There's actually a tiny bit of separation right here that will spin another skull just like that. Now we should have what we need to make our selection. Well, let's try it. Magic one. Do your magic, select on the outside, hold Shift, select here and notice it's got a little plus sign. Hold Shift and click again. Now what we want to do is hold Command Shift I. Keep reminding you get to that by going selection. Inverts selected area right there, it also gives you the shortcut commands obviously. We want to zoom up a bit tighter and really want to see what that selection is. Right now it's on the outside of the line and we can just go ahead and back that down just a little bit. Let's go ahead and bring the selection N with shrink selected area. Let's try 0.08. That puts us right about on the inside of that line which is where we want to be. What we can do here is just check the work. If we go back to our artwork layer, let's turn it back from blue line. Let's put the opacity back up. Now if I was to hit delete, I might delete everything on the inside. I don't want that. Command Z to go back, Command Shift I to invert, hit "Delete" and now I just deleted everything on the perimeter and edging of that character, all that bad line work and sketch lines on the outside. Now I create a layer like this. We'll just call it base paint, something like that. I shouldn't need to invert this again so Command Shift I, so I'm back on the inside of the character. Let's pick something. I don't know, just middle of the range. The rolls, some in here. I don't know, just something. Go and fill that in, drop that behind our line work. This will actually give us our selection of the character, we know that we've already deleted everything and the excess line work. We can actually get rid of this incline that we drew. Sometimes I won't keep it. Lets go and hit "Command D" to deselect and there we have it. There's our base paint and a nice clean edging to the line. If we zoom in, up until we get pretty darn close, it's going to have a nice crisp edge to it and that's what we want. We've also got our reference lines to still work with. We can now start laying in some of the base flats and then add some the painting effects. This is the way I like to set up every painting as I start to work into it. Now let's move on to the next lesson and add some effects. 6. Flatting in the Colors Part 1: Now what we want to do is separate some of this painting and what I like to do is take the base paint. We've got our line work here, got another line work version here. I actually like to create another version on the line work so that if I toggle this on, I can make the line work more apparent, just a little bit more in your face so you can see what you're doing. But what I'll do now is go to this base paint, I'll lock transparency. Beauty of that is you just can't go outside of the confinements of the edging, which is very helpful, the cyber painting. With flooding, I like to just pick a base color. I like to try to stay desaturated for as long as possible because I tend to over saturate my work. What I do is stay very desaturated on this side of the triangulars be a color wheel, but I guess it's through hue saturation. Then your color wheel around the outside. What I want to do is just take something like the G-Pen again. There's a couple of ways you can do this really, I like to just block in. I'm thinking this over characters is going to be a little bit of a green. Generally with ogres they'll either look like they're a pale flesh tone, a green, light blue and above all those colors, because I would say it's a fantasy our creature, you can really have fun with it. Now the one thing I will say when doing this part of it, it's actually not that important that you pick the exact color that you want. In fact, I would say to really just get out of the thought process that you need to pick the right thing from the start of anything. Again, back to that experimentation mode where you find things by comparative of looking at it and then also, you don't get too worried or hold yourself accountable if it's not the exact right thing. What I would do here is just pick a color. One of the beauties of working digitally is there's so many ways to edit. As I pick this color and drop it in, it can really just be a marker or a placeholder for the work and then, there's lots of ways to reselect, we edit it and I'm going to show you that as we progress through this. But right now what I want to do is just get in here and use lines as my guide and draw and whether this color is going to hit. You notice I can go right pass the edge when it comes to areas like this but I just want to make sure that I don't hit other areas in the paint work that need to be a different color. Even still, that's still not a big deal. You can go outside of the edges a bit, try not to obviously, but you really don't have to worry too much because again that ability to edit your work is just so vast and in programs like this. What I don't want to do is just get in here. Now, keep in mind, if you don't feel as comfortable doing it this way, you can just use selection tools. You can get in here and you draw your selection like this. One of the neat things about this program is it will pop up that little quick key and you just hit a fill. Now that's nice, but I generally don't get the edges as clean as I would like, which isn't a big deal because I'm going to show you here. Let's do this part here, do a fill. You also want to make sure that you're not getting any artifacts when you do this. Again, that's going to be in relation to this right here. If you've got more of a hard edge setting, you should get little to no artifacts. Let's go back to it. This is actually more of a blended edge, anti analyzed edge, then you're going to get a soft transition and that's going to affect your colorization and anything you do really, you'll get that soft edging as you apply the effect. Now if you go over like this, you just simply go like this. I tend to hit X on the keyboard and notice it switches back and forth from these two colors, hold Alt, select the neighboring color. Let me actually go back to the fill first. Hold Alt, select the neighboring colors. In this case I want to paint it back to the original base color and then hit fill. The good thing about doing this is as I get quicker into this and I want to touch things up, I can simply select, hit fill but if I need to go back and add some more green real quickly, I don't have to search tools, I can go right into here, hit X on the keyboard, and then fill. You can move pretty quickly with this and I think there's a bit of the band right there. I'll just click this. I'll do as much with the selection, like I said I have generally use the G-Pen. Mainly for areas like this I feel a little bit more confident getting in there and redrawing them. But let's just use this as an exercise. I want to show you a couple of ways to do everything so that you have as many tools in your arsenal. There's also just those times when certain things work better on certain days, I often feel that way where I'll try something that I generally do, but then based on a certain day, whether I'm creative or not that day or feeling creative, something else may work. You see I get a little bit more artifacts on the edges, which isn't really that big of a deal because again, I'm going to show you when we start to paint, a lot of this stuff you'll paint over. Also like right here, these aren't very definitive edges to this feathers he's going on. You can really just get in there and be a little bit haphazard about that. You can again go outside of the edge because we have the lock transparency helping us out there. Here just get around these little skulls there. Command D to D select and just repeat this process. We're just going to itemize all these areas should be green or possibly even a different color if we decide to make changes to that. Here I'm just going to skip some areas. Now keep in mind when I'm cutting over like that. The reason I'm doing that is based on the position of my hand, which you can't see. If it doesn't feel as comfortable for me to draw that line, I cut over and hit fill. That's just me doing something that's based on a comfort level for the way that I draw, I just wants you to be aware of that because it's part you can't really see and you may wonder why I stopped the selection. I'm getting away from my hand position because I'm rushing my hand on the display there. I always think about the mechanics in the way that I draw as well. That's something that gets overlooked a lot. You got to really be comfortable with that. In fact, I teach a lot on how to use tools for tablets. I'm using antique on this course, but there's times when I use the tools for, and I just do a few workarounds to make it feel okay mechanically in the way that I draw. But, there are benefits to each of course. There's always different benefits to whatever tool you use. But I will tell you this, that no matter what device you use, given enough time you will figure out all the ways to create amazing art. Ultimately it's what the artists and not the device, you got to be very confident in that. Again, just doing this. I actually film like this is actually going fast than drawing with the G pen. I'll continue with this. But again, if you feel you need to use the G pen, one of the benefits, I guess using the G pen is you can really scale up that brush size. If you're good at hitting the edge like this, without making too many mistakes, you can really cover a lot of area pretty quickly as well. There's reasons to use both. Continuing on with the selection method. Again, realizing that it doesn't have to be perfect because we are going to paint back and forth as we go. The nice thing about doing this as well, is it does pick up speed after you get some of the major areas of a character colored in what I call flats. You'll actually start to pick up speed because then you'll have less of the area that needs to be reselect and filled so you'll see that here shortly. Again just faking that area right there. It's not perfect every edge, but it doesn't need to be for the way that I'm going to paint. You see, we're really using that line work as our guide and also as our container to the paint work. For style like this you say I went outside of there a little bit. Now had I rotated the screen, I wouldn't have probably made that mistake. It's not very noticeable anyways, but I'm always more competent pulling in this direction as I paint through. Again, I hit x on the keyboard to flip that color. I can paint back really quickly like back and D to de-select, double-click here to straighten the screen, space bar to move to this area over here. You're going to select three here. I'll just cut across here. You can also hold shift to add to the selection before doing the fill if you want to. Do it all at once, hold shift or all to subtract. We can subtract the layer if you need to fill that in, add x on the a keyboard to flip back and then fill that in the slide. What else we need the hand here we needed this is an armor piece. We didn't the face and a little bit of the neck. That'll get us the first part of the base color. You see when I zoom up, the details are still pretty crude. Especially to this hand here. Probably should refine that a little bit more. But then again, it's not always necessary that you will find every single detail when you pay something like this. But I probably should have added one more level that then I'm looks pretty crude, but we'll get there. Now the face here and actually I'll just go and use the G pen and paint the sun. I'm going to go and go over the eye areas and the tooth and things like that. I'll end up painting back another layer over top to divide those and add the other colors for that. But for now I'm just going to paint through all that information. I've perceive that the face comes down and then you get a little bit of the neck area here. I'll probably do some of the green in here. Almost like this neck band is the divider from their suit material that character's wearing. You're seeing some of the skin under this the sash for lack of a better term. I feel like this particular way it takes a little bit longer, but I'm always more accustomed to drawing as much stuff as possible. Just feels more natural. But sometimes that selection method can be a lot quicker. You really just have to pick and choose your battles when it comes to that. There's the green area and you see I'm not being overly perfect about where the edges line up and things like that. Now let's paint back. What we're going to do now just to grab this area, is to go selection. Select color gamut, select that hit okay. You can get in there and check it and make sure the details are there. But it does a pretty good job at grabbing just what that color is. Remember this is off the base paint. I'm going to hit command C, command V. I'll just call this scan, make sure I got every part of it. That's that. I can hit command D and D select. Now I could also save a selection layer. I really don't need to because the layers will give you the ability to select. You just right-click here, go, or is it select from layer creates selection, and there's your selection again. Likewise, since it's a flat layer, we've got the [inaudible] like transparency. You see, since I copied it from a live transparency, make sure they don't call it some different area like transparent pixel. Here's a few different programs and they'll call a little bit differently. But because I copied it from that light transparent layer, it copied that as well, which is nice. Now with that, we can really get in here and do a series of changes. With that, I'm going to first flat everything else in before I get too far into this. But I want to show you could take tonal correction and you can really play around with the base color even before you get started adding your effects and really see where you want to take this. You know, do you want this to be little bit more of a bluish skin tone? Is the saturation need to be a little bit more or a lot less. You know, you can play with that. Again, I think it's smart to start with less saturation unless you go in for a really animated feel, you can dark in the overall tone or brighten it up, soften it up. I think something middle of the raw right about there. Lots of ways to edit by doing this, and that's really what I want to show you. Now let's continue to flat this character. We're going to and start this lesson right here and continue on to the next lesson where we're going to flatten more the base color of this character. Let's move on. 7. Flatting in the Colors Part 2: Now let's continue on selecting and applying base colors, and separating parts of the artwork. So let's go back to the base paint. We're going to go ahead and pick something into a maroon or a burgundy. Again, pretty be saturated. Let's test it on a part of the character. I think what I want is all the scale type effect, like the shield here. These leg areas, all of those to be a bit of this maroon. I think even this area. I may even take part of the scale pattern and implement it here. I'm not sure yet. But again, it's just placing these things and getting it started. So I'm going to go right through. I think the bone areas will probably be a little bit different color, but we'll just go right through those areas. Again, lets go back to the selection tool here, and I'll probably just go right through these for now. So those bands will probably be a different color as well. I've been too worried about it hitting exactly now, one of the things you can do as well, is you actually can't draw right through areas of it that are already selected and placed in front. So essentially, you can select that and here let me just show you by doing it, I guess. So if you were to get to an area where all of these actually don't connect, when we find an area where it connect. To go through here, and you can actually go right through this area here. Now the reason being is because when you fill it, it's going to go behind the blue that you see here. Now when you go to create the selection, the selection will go behind the blue. So for instance, as I go to select this again, I'll just use the magic wand. It's going to select behind the blue of the arm. But when you go to create your layer of it, you just make sure it's beneath the skin. So there's lots of ways to really do this and interpret it. I'm probably not going to go outside of it. Just because I don't want to confuse anybody too much, but just remember if you were to go command C, command V, and make a copy of this, command D to de-select, we'll get rid of this other information, set it's behind that blue layer, it's essentially bleeding behind it. There's a bleed or I guess you could say the skin is bleeding over the maroon color there. So as long as you are aware of stuff like that, you can really save steps and move a little bit more quickly. Again, for this particular instance, I'll just go ahead and not go behind the other color. But I do want to show you as many techniques for executing the same thing essentially. If you really want lots of different ways to think about this process so you don't get trapped in a corner and say, well, there's only one way I can do it because it's really not the way digital artworks. It was actually just tons and tons of ways to do every task and that's why it's so versatile and ultimately so it can become so quick. You can learn so many time-saving techniques. So I'll space bar to move, select these areas. Again, just take your time to go around it a little bit, and I think you don't want that belt area too much. So let me go back and do that again. So through here, through. This is generally where I'll quit using a select and I'll draw more when the artwork is a little bit more sketchy, and there's more areas that are loose to interpretation. But I don't think there's enough information there so you can still get away with it. The other thing is, you don't have to have the edges become too overly crisp, because when you go to start painting, you just paint through it. One of the parts that you do with cleaning up any digital artist is touching up your edges, and you can do that with a piece like this by just refining the line work at the end or just painting from layer to layer to kind of converge all the segments together. So we'll talk about that more as I get to that part of the process. But I think it helps to think of a stuff unilaterally and not just in the direction you're heading, but also in the way things affect one another and the way that you could carry the process. So as I'm doing each step, I'm generally thinking one or two steps ahead just because it will give me a better end result, and it will also lead me to think about ways to save time. So if I'm thinking about, if I apply this effect, what will potentially do down the road in this piece? You can usually come up with some pretty good work through as you're doing stuff if you tend to think that way. We're just filling in these areas thinking about where this color might be evident throughout the character's design. One of the nice things too, is if these parts of the character don't touch, you can really combine colorized effects. For instance, if I wanted to do the helmet as a separate color and that really be the color that I'm applying here with the chest material. Since they don't touch on the layer, I can really conserve layers and put those together. So that's up to you and how comfortable you are with a certain amount of layers. Some people don't like to work with a lot of layers because it gets confusing and I can definitely relate there. There's times I want to condense them all down and work off single layer. Just so that I can save time cycling through layers. But the biggest opportunity by using the layers is areas of edit. You can always go back and edit components of your work more effectively. But it's whether or not you can really process all the different pieces and not get frustrated with that. So one of the things that really helps with that is to use your layers and groups, organize them properly. So name them adequately, and then use your groups and down here to combine those together when they don't need to be all separated there. So that's probably about right there. I think I may want part of this cloth material to be some of the burgundy too, since they don't connect, it's not that big of a deal, and if we need to change it, I'll just go ahead and make this right there. Now again, if I was to take that blue off, you see I went over the base color, went past that. So all I'm going to do here is hit X, hold all, select that, and paint it back. Just like that, hit X again, go back here, paint that in. So let's just be a little bit more critical than I really need to be. But I want to get you to think about what's going on past, what you're looking at. Like you don't want to just look at that top-most layer and think that's everything that's going on because you'll trick yourself up at times. So now if I apply that skin back over the top, it didn't bleed pass there, which is what we need. Now if I go back to the base paint, again, I'm going to go to selection, color garment. It's like that now hit "OK" Now we'll just go ahead and hit command C, command V. We've got that on our own layer, on its own layer, and we'll just call this maroon. How do you spell maroon? Maroon. We'll just divide it like that based on color or name of the material and command D to deselect. Obviously, if we change the color of that, it's going to shift. So you know what, let's just do this, let's just call it scales. Would be better, because it's predominantly going to be just the scales from the leg and the shield here. Let's keep segmenting the work. Keep in mind too, you can really do this in a very contrast way, so you could pick just very bright colors that separate easily for the selection process. I'll just going to demonstrate that supposed you come in here with the X-side here and pick this very bright lime green, and obviously, the material isn't going to be this color, but what ends up happening is there's no possibility for confusion of the selection when you go to separate this into its own layer. If you pick a color, that's a little bit too close to the neighboring color then this selection method can backfire a little bit. So you got to just be aware of that. But generally it has to be pretty far apart. This is going to be a bit of a gray, so we need to look for other things that'll be gray within the character. For instance, I feel like the skull heads will be so, select those. I'll draw those out. I should say, color ozone and select them. So probably this area here. After this part we're going to go ahead and time lapses since this is [inaudible] were done to. I'm going to do the same thing throughout the piece and create all these separation layers, and then we'll get to painting some effects and bring it all together. Just remember you can use G-pen or the selection tools, whatever you're most comfortable with. You can actually even do a shift click method. Generally just do it for more angular or perspective type selections or drawings. But just keep in mind that in this program, if you were to hold shift and click, it gives you a series of straight lines and that doesn't seem like it would work out really well. But if you either zoom in enough or you make the lines small enough, or a smaller series of angles will become what appears to be a smooth line from a distance. For instance, if I was to get in here the horn section of the helmet, if I'm close enough and I use that line work to my advantage, I can really shift click around this whole thing. It's like this. I do this a lot for automobiles and things like that, but just things that are typically a little bit or areas of it that are typically more angular. I can also fill in that middle area like that once I've created that perimeter shapes. So I don't need to fill in every little piece of it. To me, I do feel more comfortable just drawing around the perimeter, and as long as I make sure to close off the edges, same thing I can use that fill tool here. Just lots of ways to get the job done. Again, I just want to show you that there's lots and lots of different ways to do every task within this program. We'll get this part in. Select them and zoom back. Again, obviously we don't want it to be that bright fluorescent green there. But we know that that's going to select really well. Then we go to selection color gamut and select there hit okay. Actually we can move this back up and put it turned that down momentarily. Hit Okay, and keep in mind if you do have any little mist areas, you really don't have to go back and fill those in and you can just grab your selection toll or shift. Make sure to click a [inaudible]. I'm going to write here, we've got a few just like that and just pull those in. Touch up any little spots like this while we're here and a bunch of them. Actually I think that's because I picked a lighter color. So it's easier to miss things, again, working off that contrast. But you can see that if you zoom in, the edges aren't perfect and that's fine. Now we can go ahead and fill that one more time. We can go and separate that Command C, Command V, Command D to de-select. We'll go ahead and double-click this and we'll just call this Axe Head if you can just put like a [inaudible] skulls with. Then we've got like transparency, so we can just take it and we know that we want that to be a little bit more of just a gray. Now that's separated, we going to fill that. Tap each one of those or use your drawing tool. But you see it, it gave us a pretty good selection. Lime gray works that way. That bright fluorescent lamp, green actually works that way in video and all kinds of stuff. It's good for selections. You can really use contrast to make sure those selections are not bleeding over into the next color. I'm going to go and time-lapses in the next part. We're going to divide up the rest of the character, to really just re-implementing what I've showed you here. So no sense in dragging you through the repetitive process here in real-time. So let's time-lapse us and move forward and I'll narrate over top. Now we're going to repeat this process and make sure you going to use some pretty bright colors just to show the separation again. So not entirely necessary, but if the colors are too close to the corresponding color, the color selection method via the magic wand or the color gamut generally our work is well. So you just want to show some good separation of most colors. What I'm doing here is basically defining the areas that I want to be more than leather or brown materials. So you notice some bouncing around all over the suit design tone and the with that bright orange. We'll create the selection there, will copy and paste it. I'll adjust it with the Hue saturation to get it closer to the base color that I want to work with. And you can also do that just by creating a Fill. I also want to create, select some of these areas that I feel should be on the bone layer. What I'll do there, select those, use the same color from the bone material, and then go ahead and copy and paste souls. I'll merge those into the other layers in a way where it keeps the name. Generally, if you bring the new layer over top and merge down, it'll keep the name layer from the bottom layer. That's really is we're just separating all this, getting our layers right. I using the base layer to do our final color. That's really all there is to it. So now we've got these itemized and separated. They're not perfect and they don't need to be. If you were to zoom up, you're going to see a lot of little edges that can be a bit cleaner and things like that. But when you go to paint, your going to paint through a lot of that as well. It's not really that detrimental that you get every single edge is crispers need be. I'm usually more worried about the silhouette and the perimeter edge than I am about the interior edges based on the way that I generally will apply digital paint. So that'll complete this lesson. Now we're gonna move on to the next lesson where we start applying more effects and really bring this to life. So let's move on. 8. in the Broad Strokes: Now that we've got everything separate and ready to go, one thing I do want to show you real quick if you create a group, and double-click that and call it ogre colors. Something like that ogre color, then drag that up here, click Hold shift, select each one of these, and drag it in there. Two things it does is it helps you to organize these layers and condense them down like that, also helps you to move things collectively. That can be important to do, and then what we'll do is we'll go ahead and put it below the ogre, we'll create another layer. Double-click here, just call this BG color, and we're just going to drop in just some background color because it allows us to see into the work a bit more and paint a bit more effectively. I also like to usually do something like take this here, maybe do like a selection to the middle. One is like a little bit of variation to that, and I'll do that on another layer, background, color 2, and you can get really wild with this. You can do all textures and soften them up, and do a variety of things. I'll just go with something like that for now. I actually think I want it to be a little bit less saturated and a touch darker. Yeah, something like that, and then you can also play with the opacity or whatever. But now what it's done is it's given me a lot more contrast to work with, and you can get in there and paint any background that you feel, helps your piece here, and actually to tell the truth I think I want this one lighter. I think I want them both a touch lighter like that. Now we're ready to start painting. We're ready to start getting in here and seeing what effects we want to see in our character, and how much detail we want. Now one thing I will mention is I generally will paint from big to small as much as possible, seems to work the best. I'll also try to hit each area with the broad strokes first. I'll show you what I mean there. We're on the skin area, and I'm going to start with the smooth watercolor brush. Smooth painter here, and I'll make sure you get access to these brushes obviously. Then what I want to do is pick a little bit lighter tones I can hold all select there, I can pick something a little lighter, a little more saturated, and I can just jump in here and paint in some light source. Now, it just depends on what you want to do. You're going to have to paint in light source and shadow. It really depends on where you want to start but if you just get in here and just keep the brush a little bit larger and hit those, what you would perceive is being the highest areas, either of the form or the side that's catching the most light. However you want to visualize that, and I will see you want to study from life so that you can see how light works. It does take some time to get a comfort level with where to place stuff. You started thinking about things like, is there bright little edge on the side, things like that but I would say first off, just to ignore all that and just really get a general sense of the lighting and the shadow. Just again, those broad strokes, if you do that, you can usually process the information a little bit better. If you jump right in, for instance, if I was to just jump right in detail, every part of the anatomy, the musculature, this ogre, then I might get too far ahead of myself, and then when I go to apply color in another area, maybe not be able to match it up or maybe lose perspective on what I'm doing or something. But if I do the broad strokes on everything, I'm processing it all at once, and I think it gives you a better guide as to what the next step would be. At least that's what works for me, and obviously we all create very differently, so that may or may not work for you, but I generally can feel that way now. The other thing that I think about when doing this is plane changes. This is all pretty rounded information, and obviously I've got the light source coming from this side over here. But you do want to think about plane changes. Say for instance, on the face here, you get some pretty heavy light on the one side. That same light's probably not going to be as evident over here. Now we have defined the light source thus far, so I have to think about things like, if the light hits the side of the nose or right here on the lip and this side of the chin, all through there, maybe just a little bit makes its way over here. I have to think about where the shadows are cast from the nose, from the roundedness and the plane changes of his face. One of the things that's really helpful to study when you do this type of stuff, I think a couple of things. One thing that I like to study is 3D renders and 3D artwork because the lighting is so proper. It's done in a 3D environment, so the lighting is pretty done accurate, if not perfection, a lot of times perfect. Just like studying from life obviously, if not, obviously life would be the first but the other thing is just to study, like blocked out moles and things that people have constructed, models, I guess, and things like that, because they very march these sculptures, I should say. They sculpt in a way where they're very much aware of plane changes. You learn a lot from that. In fact, you learn a lot by just doing some sculpting and thinking about stuff like that. I always recommend to young artists that they even try some 3D modeling. There's free programs out there and things like that, like sculpt tourists, and you can really get your feet wet and see if it's something that you'd here to. But it will help you get a better visualization of the way that things work in a 3D lit environment, which in turn will really help your paint work. There's about the broad strokes and the really neat thing about this brush is bearing down, you can get some paint and then softly glancing over it pretty much with the weight of my pen. I can blend those edges. You can really hard and soft edge effects with this type of brush, which is highly effective and highly versatile. I'm going to stop right there on the scan. The next part that I would do is start taking a dark and adding in some drop shadows and things like that. But again, I don't want to get ahead of myself. We've got these nice little layers set up it's real easy for me to go over to the skills now, or this burgundy type material. Hold all select that. Pick a lighter light source version of this. Then again, just try to perceive where the light might hit using the anatomy that I've already established as a reference point, and just start to round out these other shapes. Again, just blocking in a big chunk of that other color, and then blending it just a little bit, and try not to go too awfully crazy with there being a light everywhere. I think in the beginning, we're very much in the habit of saying, "All this light looks cool on this edge, how about it goes all the way around this edge, how about it goes on the edge of each one of these". But then, we don't think about the fact that light doesn't really work that way, and that shadows have to be cast. It make more sense, possibly, that the light would start pretty bright here, and it would dissipate as it rounds down, and at the shadow of his body would cover that. If you've got any light source down here, maybe some bounce light, it would be pretty minute, and it just wouldn't be a traced edge all the way around. Just little things like that, and obviously, it goes a lot deeper than all that, but it's the way you start to think about it, and you start to perceive that, well, maybe the light wouldn't really reach there, and maybe it would drag differently on this surface based on this surface, and things like that. Even that, I think I'm going to stop right there now, obviously when I get into detailing this, when I tend to do things like this scales, or whatever, maybe needs a different brush, but I'll probably get in there and I will add little bits of light source around edges to really enhance it, and make it look a little bit more neat. But that'll be more of the detail stage, so again, I'm not going to jump into that yet. I just want to get all these broad strokes in. Now I'm going to jump over to the leather material. I'm going to continue to use the same brush, hold all, select that, pick another lighter version of this light source color. Here you can see that the background does us a great service because now when we apply this, we can really see even these small amounts of light source we're applying to the edges. Some point this may bring that light source, and we'll say it's rounding around the form this way. It's going to hit underneath, probably a little bit right here. We'll get some of that in. But if this background wasn't there, you probably wouldn't see it nearly as well, it's still be evident but not as evident. It's again where the background can really be helpful. Again, just bounce around, just remember that light does bounce, so you can get it on both sides of an object, but obviously one side's going to be more heavily lit. Being the things like dual light sources, or like colors, then you can create a lot of neat dynamics with that. You just have to err on the side of subtlety. I would say with coloring, and all that, it's better to err on the side of subtlety for as long as possible, and then right at the end, maybe spruce it up or something like that. But it's real easy to kind of overdo things like this, so you got to just slowly work up to it. That's the way I tend to work best with this. Again, just perceiving where a little bit of light would be, just trying to round out the shapes, but not to go too awfully crazy yet. We've got the scan, now, we got to add a little bit to the fur, the helmet, stuff like that. That's all on this layer, will go there. Knows each one of these is locked again hold "Alt", so really just repeating this process. I actually think I'll start here with a shadow. Before I tend to get in there and start fur, hair, anything like that, I tend to get in there, and immediately try to paint in separation. I'm thinking about where the shadows would occur from all these bulk of strands. They're not all just strands, they bulk up together, and form larger shapes, and that's generally what I think about immediately when I start to paint this. But again, it's really that concept of working large to small, so if you get right in here, and you try to draw every little strand of hair, it generally will look less impressive. We want to think about that even as you're shading and coloring, that you want to get in this bulk of the information. There's going to be a drop shadow from the character's head, we'll get that in there a little bit later, but I'll do some hint of that now. You see I've got parts of the ax, and the sword handle on the same layer. They don't necessarily need to be the same color, but I'm really just taking advantage of the fact that since it's all not connected, you can really have multiple things on the same layer, even if you tend to, or end up painting them differently, since they're not touching, you can really take advantage of those layers, and not make the picture too layer-intensive. Because it does get a bit confusing if you get a lot of layers going. Then where's that base color? That's the firm clause, so that's that middle part here. Hold "Alt". I'm going to go to more of a shadow here. It works almost the same way as the hair, I just skip some areas, throw in some larger shapes of shadow, and drop shadow from the skull thing right there, and just again, just those broad strokes to get it in place. I'll head over to the skulls, right there, and this is already a light, I'll pick a shadow color, very desaturated, and again just the broad strokes for now, just to get the ball rolling, and everything. Again, with plain changes, I would shade, for instance, on this side, I would shade all of this in, and just proceed, a little bit of light source off to the one edge, where you see this doubled edge. I'd shade that side in. All this would be in shadow, and again, just really thinking about just tiny little plain changes, and how it might look rounding around the form of the character. There's some base shapes in place, and now we can start working into each one of these areas with a little bit more detail, after we get this initial information in place. We'll finish up here on this lesson, and the next lesson we're going to work into each one of these areas with a bit more detail, and as we start to refine it, we'll start to eliminate, or paint in some of the line work, and really cleaning this up. With that, let's press on. 9. Painting the Leather Areas: Now we're going to start adding in more shadows to areas and more highlights to other areas and we're also going to start condensing down our line works. We've got this pretty sketchy look and line work in place. You can either paint over the top, but then what happens is you can generally go outside of the confinement layer that you want to keep active. I'm going to show you another way to do that. One thing I do want to do is just go ahead and make a copy of this. Just make a copy of the entire group. Calls over colored tool just step 2, I guess. Now I've got my backup in case I do anything that may negatively impact where I'm heading with this. But now what I want to do is take the areas and use those two condense on the line. I'm going to take the leather copy and I'm going to Right-click here, go select from layer, Create Selection. I'm going to go to my line work, which is actually these top two layers. I guess what I'll do is, I will get rid of one of them. I just want the reference to the lines. I'm going to double-click here, call this lines, and we hit Command X, Command V. Take my lines copy, put it right above the leather copy, hit Command E. As other copy, just get rid of copy there. Now if I take away the lines except we got to lines just on that leather area, I'm going to keep them in place, but I just want to know that they're separated which they are. Now I can work on just this area by itself. I can zoom into this area. I should be able to take something a bit darker. Now I'm drawn to this here. Essentially I've got my lines in place are pretty faint, which is what I want, because I want to be able to get in here and add some effects. But slowly paint over that line works. I've combined it together to make that happen a little bit more easily. Notice now I'm just using a basic pencil tool. I like to use this a lot when I paint because it gives me a little bit more of a solid edge here and there, which I like. I use a lot of basic brushes, the pencil, the G-Pen, as well as at watercolor I showed you, the smooth watercolors, should say. Just get in here and start to work up some of these shapes. I tried to get as much color variation in as early as possible. These are all pretty much the same range of colors, but I would see some good differences and light to dark and I'll use that. Essentially I'll grab right there, maybe make it a little brighter, gets some as edging in here. You can see it such the paint away that energy from the pencil lines. I can just slowly start to clean this up as well as given the effects that I'm looking for. You can see I've got some little variations in the selection too. If I notice stuff like that, I'll just Hot-shifts select it and just paint through it. I could turn off the light transparency and paint through it and generally it'll clean it up, put I actually want it is it looks like another layers in the way. Just toggle through these and figure out where it's at right there and just go back and erase that out. Actually you see that's the overlap from the existing the lines under the layers. Go back to the later and again, just continue to do this, but if I get a nice range of variation of color, of contrast, I can stay right here and just use the old picker to keep working through this. I can put a little bit of heavier shadow here. Under this, I can grab the light source if I want all of this to be the same color and I'll start to paint in some smaller details to bring that out. Then also, since I'm not using the smooth watercolor, generally with these types of brushes, I have to go to the blend brush and just blend this around. Likewise, I can get rid of some of these artifacts from the sketch lines pretty quickly with this brush as well. I tried to be pretty hesitant of overusing this, because you want to keep some of this texture. This is still very early into the painting, so some of this texture you're going to paint over anyway. It looks to be like a distraction a lot of times when you see all these little imperfections in the work, needs little sketch lines. But sometimes that stuff can really add up to make a nice effect. I tried to just think about that and paint over top and areas instead of trying to blend every single thing. I always look at it like if you smooth out everything, you might as well just painted at all with a soft brush and airbrush and you're going to get a very different effect. Likewise, it probably shouldn't be so far zoomed in right now. It's good to stay out a bit. Now the other thing as we start to do this, we also want to use our blending modes to our advantage. Multiply is a good one for applying shadow and we can get in here and round this out more so it's looking to flat. Let me use a soft brush from a distance so that it multiply. I can round this out altogether. Then also we've got this selection there that we need to fix. Hold Shift, select through their, hold all to the select here. Just little things to keep an eye on the edges as we paint. Again, back to that multiply brush and we blend out this, I'll add effect right there. You see it's starting to take effect. The other thing is we can grab the soft brush and go to something like a highlight to try glow dodge, grab this light source. Again, since we're trying to round this out, we can push that light source in this direction around that shoulder piece. Then we'll put our lock transparency back on. We'll de-select here and we'll move around. Again, we're not putting too much information all at once on one spot, which I always feel can be a little bit destructive in the way that you paint, because it's a little bit better to bounce around and add little bits here and there. Now I'm going to get into here, I'm actually going to select more from the existing work that's up here. That's my way to keep it all a bit consistent and it's a huge time saver because all that information's already in place up here, I might as well utilize it. I'll use the all picker and I'll just grab from there. Again, if I see any of these little imperfections is take off the light transparency. The nice thing about the smooth watercolor brushes is, it can also blend those edges as you go. I just have to remember when I get to these edges that I want to lock that back into place to preserve these edges off to the side. Again, trying to get some drop shadow and perceiving the depth that should be on these rounded raised objects and the bell here. Grab some of this light source again. You get a little bit of this on the edge. This area is obviously going to need to look raised from the suit material. As we start to paint through this, there's going to be a bit of light source. The light source is going to be around the width of this material and I'm going to skip over real quick and jump to the skills part. We're going to need to take this color of the shadow and think about the way that it would cast a drop shadow onto that material and even on this side, so it'll make the highlight pop-out a little bit more. Again, it's really that comparative thing that's going on where everything that you add from here on out will expose other areas in the painting and where you need to go next. Some pretty heavy shadow on this side. You see the lines are still separated there. I'm not dealing with the lines yet on that particular part. Back to the leather here, dark, just continue detailing this. We also need to start thinking about texture. As we do this, we want to figure out how much texture do we want to see on this? How depthy do we want this piece to roll and look? If it's more of an animated field and there's going to be less of that texture and realism that we're trying to incorporate. But if it's going to be realistic, then we really need to get in there and add some good textures, some good range of texture, really. The way to do that generally is going to be stippled brushes and a variety of brushes. Really just not using the same brush to the entire piece is a big part of it. You can draw on a lot of your texture as well. You can get into an area like this and you can take a pencil tools or something like that, and you can retrace the line work here. I'll generally get the broad strokes in place before I'd worry too much about this, because you can tend to paint some of this out away as you go. But you see I can get back in here now and I can draw into this a little bit more. Make sure this is light, so don't go side of that edge and just really keep picking at it. Adding little details as I go and sometimes just random little line strokes. It's not going to look as messy as those drawn lines, because we're now using the color, so it'll blend in more to the painting. If not, you just draw it in and then soften it up with the blur or smudge brushes, if it ends up being too much. It's just little textures, we'll sketch lines almost, but the new colors that you're introducing, you can really start to make it look more and more impressive as you do that. There's a lot to be said for just scribbling. Amazingly enough, you'd think that it would mess it up, but sometimes scribbling you've just really need textures and you just have to experiment with that. Then also as you apply this to always paint back and check the work like that. Again, let's go to this multiplier brush one more time. Let's go ahead and round out the shapes. Let's go to a dark one. I want aglow dodge, we have to go to multiply. Actually let's leave that to glow dodge, and go back to the stronger brush that set the multiply. You can get these brushes to really work to your advantage, because you can save certain blending modes with each one which will save you time. You can see here just by darken that helping start to round it out, make it look like it's going around the character a bit more. We're going to wrap up this lesson right here and in the next lesson we're going to detail the shield. Let's press on. 10. Painting the Shield: We're just going to continue on detailing this and really bouncing around. Again, I think it always helps to do this because it exposes others and the pairings. If work on this area too much and then not another area then maybe we'll get too far ahead of ourselves. Let's go over to the skill area where here scale material. On this one, let's quit and dark and tomorrow as well. I want us to think about the way that drop shadows are going to be occurring. We're going to probably approach that a little bit in the next lesson, where we're going to talk about some hearted shadows. This is soft edge, but then also cast shadows and drop shadows and things like that. The way that certain areas will add a bit of a drop shadow to another area. Here we're just still continuing to use blending modes, multiply it to current moment, and we want to just get a little bit of more effect. We can also get a little bit of the shape of the anatomy through the material here slightly. Doing this all at that soft brush and multiply. Just remember too a lot of times you want to dark and things from the bottom up almost always and always, but pretty much always. Also at this point, we want to start thinking about getting that line work into this area of the painting as well. Let's go ahead and do that again. We're going to go ahead and right-click here, go select from layer, creates selection, go back to our lines, hit Command X, Command V, lets cut and paste. You can see it almost starts to make a little bit of sense without the lines, still needs a lot more carriers. Then we're going to bring this over to our leather or know the skills for your me. We're going to go above that, hit Command E and since we're above it and we merged down, it kept our skills wording and TAC there. The name I actually don't want that to be a copies, and are there. Now, we're painting directly on there with the lines. I see they're pretty faint and some areas, but that's fine. We don't need a lot of reference at this point. Again, once I've got a good range of the colorization and I'll probably add a little bit more. Let me take the soft brush, let's change the combined mode, I call it blending modes, but there are also obviously called combined molds right there. Let's use overlay. Let's try to introduce a little bit more of another color, because it looks a little too plain. Generally, anything that you paint, it's going to have, I would say bare metal, two to three colors even in an animated sense. If it only has two colors, it's going to be very animated. Then the more realistic you're trying to get with something you're going to have five, six, 10. It's amazing sometimes when you realize how much colorization goes into certain items, especially when you're studying from live, tons and tons of color. You want to get in the habit of at least introducing a few colors and everything that you paint and starting to make the association of what looks good and why. This is going to be a touch more animated, I don't want to get too awfully crazy with the colors, but I do want to make sure there's a few different tones in there. Again, push that little tiny bit of realism. Then once we do have a good range of color, I'm actually even going to take this highlight brush, punch up a little bit of light source right there, and I'm going to use that as my palate. Now, from here, I'll just select from here and I'll start to draw and little bits of detail onto this work and just pulling from the existing colors that are already in place. Not being even afraid to grab outside of that into another area of the painting in utilizing that. I'm constantly sampling from all over the painting, I think that it's important to do that, because color bounces around, it reacts off different parts of the painting. For instance, if you're painting something with a background, the background color is always going to introduce itself or make its way into your character. So we really want to get in the habit of sampling different areas you're painting and pulling it all together. It always seems to work out well. Again, just getting some of that in there, some of us are probably blend back, but it's just a process of adding it and then smoothing some of it back and keeping some areas pretty visible and other areas less visible. I want to just highlight some of the ridges on these scales so that it looks a little bit more dimensional. I can just sample these neighboring highlight colors, paint that in there, draw that in there really. Hopefully you can see it's searched to basically rounded out a little more. Let's give it a little bit more depth. Makes it look a little bit more interesting detail. This is really the pulse effect that I'll do, I really usually save this part for the very end when I start to really bring out all these tiny little edges. But it's almost hard to resist because it gives it such an effect and then I can take this, I can again grab a dark set, the multiplier. Let's go back to the stronger brush at the multiply. Again, what I said about shading from the bottom up is always a good way to round things out. We've got to also think that this character is casting a pretty large shadow onto the shield. The bottom is going to be darker. There's just going to be a little bit of light source up top. Another good thing to do is after you get enough of those soft edge shadows and place, you want to add in some hard shadows as well. We'll be doing that probably in the next lesson here, but I actually want to blend back. Some of this shadow right here looks awkward. Just remember with blending, you can either use this brush here or you can just sample the neighboring color and blend that way. That can be done with any brush. You ultimately can blend with any brush that you pick from, doesn't have to be a blending brush, but you're just going to do more sampling. You're going to hold all select it. Then you can blend an edge so you got a pretty tight edge right here. I could soften that up, especially with the smooth watercolor acts just make it larger and hit across there and really solve from that up. I actually like the more crisp edges that we're getting. Now what I want to show you is how we're going to introduce some hard-edged shadows and how to put those in place and then softly blend them back. Let's move on to the next lesson. 11. Adding Shadows and Highlights to the Muscles: Now we want to sculpt the muscles a bit more. We're going to create our selection again. We're going to jump in and let's add another layer. Will go ahead and add that over Multiply. We're just going to call this Added Shadows or something like that just so we know it's different than the other one, something like that. Generally, I'll start to merge these together, but sometimes I like to keep them separated so that I can just slowly build up on it. Now, the other thing is you could actually take the lines and you could drop them beneath this. What happens is, if you start to push the lines back like that as you're painting with these other layers, that's another way to kind of hide the linework. You can either grab the linework, merge it into the underpainting, or paint over top, whatever way you feel most comfortable. But I want to show you the way to do with this. I'm going to grab another dark, I'm always playing around with the slider trying to see if I can get something more interesting. I'm always trying to add color into this. Not just to dark, but also just a little bit of color as I go. Even though that looks pretty dark and almost like a black, it's got a little bit of deep blue into it. You tend to just make things look a lot more rich the more colors you can add. You want to try to add, I'm not going to put a number on it, but there's more than just a couple colors to each surface basically. I'm also going to start to introduce a little bit of texture. I don't want to get too texture-crazy yet, but I do want to be aware of it. I do want this to have a good texturized effect to the skin and not be too overly smooth. But for right now, I'm still trying to sculpt the anatomy and get a little bit more depth out of what's here, and also try to move things around. I still feel like the anatomy looks a bit off in places. As I continue to paint, I want to try to rectify that as well. Using that smooth watercolor or smooth painter as I got it named over there to just brush that in and move some of it around, and not trying to overly blend everything. I think what's important too about the way that the muscles meet is to get a bit of separation. Let me see if I can illustrate that here in a second. You don't want everything to just bone up edge-to-edge all bubbly, I guess is the way I'm thinking of it. You want areas to push back and forth. The shoulder is going to push against the bicep, and the bicep is going to push against the separation from the tricep, and things like that. It's not just going to line up all smooth. Now if you come for a really animated style, then of course that is up to whatever style and depiction you like. But the more realistic you try to get, you're generally going to get more of I feel like it's a push and pull kind of thing when it comes to the anatomy. Then obviously the way the muscles flex, that's a whole other ballgame, but you want to really think about those and move these shapes around as you paint to get the most out of it. Let me create some light source up here. You'll see I'm starting to paint over that linework as I do that. I've got the selection to guide me. I'm basically cleaning up the work as I paint. Then I have to think about where I want the edges to set, how far does the light come over before it hits a shadow. Sometimes you'll get these edge shadows that go right against the light and then they blend over to the other side. You've got to figure all that out as you start to paint the same. There's some wrinkles that come up and around the arm over here. How far is this muscle visible past this armed guard that he has. Wanted to change all this a little bit as I paint here. Create some of the shadow here. The other thing I try to fight the urge of is to make the muscles perfectly round. As I go through here, I find myself doing this very rounded bottom shadow. I could continue that right through here, like this. For instance, that's a little bit over illustrated, but just to show you, but that would look to o rounded, the arms generally are not shaped like that. What you want to do is try to put a little bit of an angle and then a softness. Really just move those shapes around, I guess, and just really see a bit into it. Now once you do more and more life studies, that usually will arraign your perspective back into place with this type of stuff, but not always. You've got to study from other artists. You've got to study from life. You've got to just do lots and lots of variations in your own work to develop your style. All that comes into play there. I want some darker shadows in here. Then since we've done this on its own layer, we can toggle it on and off and then I like to move around a bit. Essentially, I'm going to take some of this bottom shadows, just looks a bit too heavy, so I'm going to erase some of that back. That's why I really like to work from a distance because I spot things like that a bit better. Let's erase some of those shadow back a little bit there. I want to slowly just work up to this. Now what I want to do is move over to the other side. This is the way I like to work best or I feel like I work the most efficiently if I do this. Because again, if I sit in one area too long and over-detail it too long, not only is it harder for me to match the other side, I generally just don't seem to get as good of a field to the artwork and make the right decisions as well, I think. I like to bounce around and apply some of this effect consistently throughout the work. Let's add some shadow here. I think a big part of it is you're just tend to see it all unfold a bit better. The more you can work in a way that allows you to see the work come together in a timely manner, but in a way that you can understand and relate to or a process, I guess, then you generally will get a better end result. It's not always just create and excellence comes out. It's like you have to think about a strategy, a good way to produce the work and put things into place. You'll also have to know when to study and when to create. There are a lot of times when if I just feel myself kind of stagnating and I can't really get past a certain thing, I just have to swallow the hard pill and say, "You know what? It's time for me to go back to studying. I've got to open up the books. I've got to do some online research. I've got to I've got study." That ultimately will free up whatever mental block I'm having. Again, little bit to the shadow here, trying to round out that leg. I'm going to put it pretty heavy on this side. This brush is actually very versatile. I think it's the most versatile brush I've ever used. I guess I would have to say the next one would still be the soft airbrush because you just see people create amazing paintings with just an airbrush. It is though very versatile and it's not ever really just the brush, but it is nice when you get a brush you really can do a lot with so that you can stay in the moment of just feeling like you're creating. It's actually one of the reasons why really like just drawing. Because you can just sit there and draw with predominantly one tool or painting, you want to really be aware of lots of different tools, lots of different brushes when you can. See I'm starting to get smaller shapes in place. It's rounded out quite a bit. If I take it from here to here, you'll see there's a lot more depth to the anatomy now. I just want to continue on that process. What I'm going to do here is I'm going to just keep repeating what I'm doing here. But I'm going to time-lapse a little bit just because sometimes this process can get a little bit time intensive. But I'm really just going to keep repeating this. I'm going to try to round out certain areas by adding in larger shadows like you see me doing here to the base of the hand. But I'm just going to continue on with the same brush and the same technique till we're ready for the next portion. With that, let me time-lapse this next part. Now we're just going to continue on with the same brush and brushing in dark to light over top of this. Really just using all key selecting from the existing paint work. Again, the more you get down of the painting, the more information you put in place, the more that you just continue to just select from your painting as a canvas. The painting itself becomes your color palette essentially. It actually speeds up a lot in that regard as well. We're almost there, but once you get a fair amount of information and variety into the paint work, it actually speeds up. The end of it is always a bit quicker because of that. Really just trying to sculpt out the work. Now, one of the things I will say when I'm painting like this, at this point, I'm still using the brush relatively small. You'll see in a bit here I size the brush up. It's really a good idea to keep the brush large and work from big to small as long as possible. Again, thinking like you're sculpting the work. I actually kind of went to creating the brush size too small, too soon. Again, if you feel yourself doing that, try to work with as large of a brush for as long as possible until you really feel that it's time for the detail work. If you do that, your productivity will go up. You generally will get a better overall feel to the artwork. It seems to feel more natural, like you really want to always think of yourself as chiseling away parts of the work and again, sculpting. I think by using a larger brush you tend to do that. Then you really just don't get bogged down into the details until it's ready for that. Details generally will come last and almost every thing that you do, but I think specifically for painting, it's very important to hold back on the details until it's absolutely necessary. Just chiseling away at this, getting it more fine, jumping over here to the face now and again, just repeating this process. I'm still only predominantly or exclusively just using the two colors for this part. But once I've got all this information in place, will start to apply more variation and the color and things like that. I'll just get into some little veins and details, and that's about it. That will wrap up this lesson, now we're going to progress onto detailing more the suit design. Let's move forward. 12. Painting in Hard Edge Shadows: Okay. With the hard-edged shadows, you are really going to want a nice combination of soft and hard edge shadows all throughout. Let us start with the skin. Let us go right-click, select from layer, create a selection. If you think that you are going to keep re needing to access. [inaudible] doesn't take very long to do that. Just remember that you can go selection, convert to selection layer and it will save a quick select that you can just click on over here. I might as well just show you a selection, convert selection layer. You can name the skin, something like that, make some him a cool, funky green there. The beauty of this is you can toggle off the visibility here, but you can click it with one click right there. It is just a quick way to select the skin area. Now, what happens is whenever you are applying a floating layer over top of that, you know that you're not going to go outside of a confinement. With this I'll just take a solid brush. Let's just take a G-pen for now. Let's just do some drop shadows, cast shadows, hard-edged shadows. Whatever you want to call them? But essentially, the idea here is that we just want to play some more hard edged shadows into the painting. This can be a neat way to colorize. It's real popular things like comics and that. But I tend to use it with digital painting because it allows me to sculpt areas of the work, tighten up areas and it's pretty easy to do. You just draw it in there to find some shapes and whatever you're looking to do within your painting. You can block in large areas that are going to be darker on. When you do a massive character, you generally are going to want, I would say actually with any character, but really it shows more apparently enlarge characters. You're going to want to shade one side darker than the other. You're also going to want to shade the character darker as they come up. For instance, as you do a drop shadow here, this whole side of his leg is probably going to be in shadow. I will black all this in for now. Probably a lot of this, if not all of this side of the leg, side of the knee here, just block it in there. You're working on a floating layer, so you can really experiment here. If you don't know what to do with your shadows, I really recommend that you just overdo them and experiment and then push it back. Or another way to look at that is just to slowly work up to what you're doing and watch it take effect. But just don't, neglect them because you don't know what you're doing, I guess, because you'll never learn that way. But if you learn just by experimenting and doing it, you'll eventually figure it out and go. I remember that time back in the day when I couldn't do shadows. Just make sure to force yourself into doing them and you'll ultimately start to feel more and more comparable with them. So like what the leg here, I want a pretty heavy shadow here. I'm perceiving that the upper body is blocking some of the lower body because this is big, massive character. He's hunched over. There's going to be a little bit of shadow right there. I have to always avoid putting points on all my shadows for you and me there. Trying to rectify that. Let's see a drop shadow from the hand and so on and so forth. So I'll just place this rather quickly. There's going to be a pretty heavy shadow on the top of the foot. Probably I'm from this one too, but like that shadow from this part of the muscles just put pretty big muscle on this dude. Shadow over here. The whole thing you can see I'm just picking at it and adding these in I don't know that all of these are going to stay, but I'm going to throw them in regardless. Let me pan back and see if it makes sense back here, then it's probably going to work. Generally can use that as a guide. If it makes sense from a distance, then it's probably, you're going to stay in the work not always, but mostly. So a big all shadow over here, especially because of that shield. I'm perceiving that the light source is coming from the top right of the character. For instances, the hand here might all be in shadow like this. Maybe a little bit of light coming off to the side and hitting the one finger. Just guessing, really, and I'm playing around with it and seeing what works and what doesn't. Probably a little bit more of a shape right there. So let's say that's what we want. Now, what happens is this looks a little bit cartoon-y, which is fine. You know what? Forget the shadow under the jaw there. How do we get that in there and on the face? Forget all that. Let me get that real quick. So under the eyes drop shadow, he's got these big brows. There's going to be some pretty heavy drop shadow right there. Cast shadow. We won't call it and top lip, bottom lip. Then also you got to think about a difference from one side of the face. It's real easy to just do everything pointing down. But then maybe in the rest of the painting you guessed the light source looking like it's over to the side. Then you got to get it in here and go, "Well, maybe the side of the face." It's all on shadow here, side of the nose here. How far does it reach over here? Does it collapse and cover up the chin here? All these little things to make it look more rounded and probably pretty heavy over here. I just keep adding to it because it's like "Ah it doesn't look like enough." So I stop looking at it. "It looks like it could use more, " and I keep picking at it. It's really my approach to almost anything I draw, create, I just keep picking at it. Now, let's get rid of our selection for a minute. We know that we can re-select it rather quickly. Let's go ahead and take the opacity back. A real benefit of using the layers like this is that you can really do a lot of things at this point, you can bump back the opacity. You can change the colorization very quickly. The thing that I like don't this is I like just putting it in place and then blending parts of it. Because I don't like the shadows to be this hard edge unless I'm going for very cell shaded animated look. What I'll do is I'll just take the smudge brush and I'll just take areas of it and blend it in. I want some of the areas to be hard edge and some not to be and I'll even put my selection back into place. Go back to this. Then I'll just pick and choose where I want these areas to blend in. Usually just areas where I want it to round it and smooth into the anatomy. Then other areas I want it to be a hard edge shadow and more defined. I almost blend everything a little bit and I don't think I'll leave hardly any of the edges like perfectly hard edge, but maybe some but very rare, actually blend more of it than anything. But I think the neat thing about doing this is it allows you to really slowly work this into your painting and then see where you might want to keep hard-edged shadows and where you wouldn't. Because there are some areas where you just want this nice crisp line. But for digital painting generally you're going to want it to be even just a little bit of a soft edge. But remember by comparison it may still look like a pretty hard edge shadow because maybe everything else is really blended in your work. These few areas that are left a little bit more crisp by comparison will look like a hard-edge shadow. There's a lot of that too until a lot of the work is by comparison. Something like that. Also I can get over here and I can mess with these blending moles. That's a pretty dramatic effect. But I can also use the opacity, let's just try overlay and dark. Probably just multiply, but then bump back the opacity pretty heavily. This is generally a little bit more further into the painting when I'll drop these in. I'm going to be putting a lot of textures and things like that in place as well. But I just want you to be aware of this. These hard edge shadows, and I totally forgot to do the hand here. Let put this in place little bit. These traded shadows can be very important and can really help you sculpt the work. Help you to find plane changes and they're quick and easy to do. I think they're a really good way to start understanding shadow. Light shadow and pretty effective non-destructive approach because you can just play some what with the floating layer and blend them back in. Now, what we're going to do is we're going to start to add in. We're going to sculpt the work a little bit more what the smooth watercolor brush keep working on the skin for now Then we're going to drop in some texture. So let's see how far we can get. Let's move onto the next lesson. 13. Detailing the Fur Areas: All right. Now, we're going to go ahead and work on the fur material, the helmet, this general area right here. What we'll do is just go to the fur and cloth area, select that and actually this is actually combined with everything else so this is going to give us a perimeter selection, which is fine too. Sometimes, generally when you get so far into the painting, you want to start just working over top of everything. That's how we'll actually seal up the edges and things like that, so I'm going to go ahead and do that. I'll just go ahead and add another layer over top and just call it Fur, or Fur Area, I guess. Yeah. What we want to do here is just same thing. Work big to small and take the existing colors that are in place and just go past that and then clean up the line work. Obviously, by painting over top now we're going to paint back that line work and it's the beauty of doing it this way and not worrying about a selection. These edges were pretty bad anyways, so what I want to do is get in here and clean those up. You can see right here, there's some jaggedness and things like that and I think I mentioned that where whenever I paint fur anyways, hair, fur, anything like that, I tend to do more of a smudging effect to get a realistic look. I'll show you as I push through this and again, I can take that highlight color, clean up some of the edges that way. I'm trying to keep the brush relatively good size, because I'm working this way I've got to be careful not to draw over things like the helmet and stuff like that. But I can still go back if I need to and create a selection of the helmet and fix this as well. It's really the great thing about segmenting the work. It does get a little bit more intensive as far as keeping track of everything but it does afford you the most opportunities for going back and fixing some things. Again, at first trying to keep these passes and these strands of hair clumped together. That's what you see me doing here instead of doing every little hair, like sizing the brush down real small. I'll do that at the very end just to add a few loose strands. But for now, I just want to get these larger shapes into place and figure out the look of that. I can even take from this brown here and probably get some of that in here for a shadow color like that. I just want to think about where these materials might overlap and create a shadow onto themselves and try to further shape this material out. Then again, select this. Now, one thing that you can do, it's pretty good for time-saving, it's just take your two primary colors because that's predominantly what I'm working with here. I can hit "x" hold "Alt", select this darker color and then just toggle back and forth with "x" to keep working and get the majority of my paint work in place. Now that it's there, we're going to want to introduce multiple colors to each area to make it a little more lively but for now we're just trying to really shape the information. One thing I want to do too is as I progress through this and I start working on the phase, I'm really big on using this extra window so let's go ahead and do that. We'll go Workspace or Canvas, sorry, New Window. We'll flip this in the navigator and zoom up on this a little bit. Here drag this over and let it go right there. This is always, I don't know, just a really neat feature in this program. This window, I think, doesn't have to be very large. In fact, I to like it when I've got it smaller. It's almost like just a little bit larger version of the navigator window right there. But yeah, it's a very helpful feature when doing this type of work. Now, let's get back in here and paint. I'm going to probably hit that helmet here and there, but it's not a big deal because again, if I need to I've got the horns on a separate layer but it's not that big of a deal. We can paint through this. Just got to be a little careful. We're going to get some of these shadows in and I'm thinking about this material as it coming up and then this being the highest point. Whenever you paint something, draw something, anything really, but definitely with painting, you want to think about the highest point because that's generally where your highlights are going to be and it helps you envision it as a 3D object as you're doing the paint work. For instance, as I get to an area like right here and I want to add in just a little bit of light source to round out the form, to punch it up, and you see that this glow dodge, it even introduces another color which is helpful because then you can pull from that color and continue to paint with it. It's only grabbing from the areas I've applied paint. Notice if I go over here, it doesn't do anything. That's because I have that floating layer over top of our existing work so as I keep adding paint, it'll start to take more and more effect and then I can add that glow dodge or I'll probably merge this down. But until I do that, the glow dodge will only work on how much existing paint is there, or off the existing paint that's there I should say. Again, try to fill out these separations. If the line work becomes a distraction to you then just jump over to the other layer and erase it back or get it out of there. Especially if it's something you feel more confident with painting and you're not too worried about needing that reference point. Just continue to soften it up so you can go to lines right here, just soft erase it or you could just put a mask on it. I'll probably do that. I've got my backup copy but just so you're aware, you can put a mask on it right here and then you can just slowly erase that back. But like I said, I've got my backup copy so I'm going to erase that back like this and then go back to our fur area layer and continue to paint. Hopefully, you can see it's pretty painless. It's a pretty quick and easy process to get some of those. It's really just where do the shadows go, where do the highlights go. That's the basic start of it all and then you just think about, what kind of colors would I see in this type of material as a light source hits it. What color is the light source is the first thing you want to think about. But past that it's just how much definition do you want to see in it, how many range of colors, how much realism and things like that. I'm going to hit "x" and flip to the other color now and I just want to push out some of these shapes. Because I want them to extend on these other areas of the body and I also want to use this as a means to clean this up. It's all these little jagged lines I have in place, I can clean up and do away with as I extend this material. Let me zoom in and show you what I'm talking about there too. If I get right in here, you can see it's still pretty rigid, and it's got some rough edges on some areas. I just want to paint over that and clean that up. But you always got to think about the end result and how much detail you really want in this, because with digital art, it's always going to get a bit jagged the closer you get. You have to think about, "What's the end result of this art piece? How much detail do I really need or want in this? How much time do I want to dedicate to it?" Things like that. Actually, what I'm going to do too is just take a solid pencil, and bump the opacity way up, and just clean up the edges like that so it's a little bit quicker to get these shapes in place. I'm trying to paint a man solid anyways with that other brush. Instead of having to worry about putting down the right amount of pressure, it's better to go to a solid brush. The pencil brush has this nice soft edge to it anyways. It's a darker pencil, so it works pretty well for things like this. I find myself using the pencil brush quite a bit for my paint work, and texturizing. Go back the other way. It almost gives a little bit of this almost cell shaded look when you do this type of texturing with this brush. A little bit of a comic feel. All right, let's check the other side. Yeah, it's starting to get there, still a little bit off. I think I want to take some of this and blend it right on the top edge here, right through here. Keep in mind, you can use the fingertip smug brush right here and really get those loose little strands right at the end. Just build down on it and pull that. But that's going to be better when we merge it. Because actually again, that's going to play off the amount of paint that's underneath. Since we haven't applied pain all throughout, this is an overlay of this layer. We need to wait till we merge that down. But, I'll show you right at the end how I use that to bring it together. Now let's take a soft brush, swat the shadow, multiply with a dark, and put a little bit of red, see if that helps it. We'll just get a little bit of that shadow on there, try to round this out a bit more, a little bit more separation, introducing just a little bit more color. I'm going to do the same thing on the helmet piece there just like that. Then also from the back, I'll probably just take this right to a dark. I'll just try to darken the back of this a little bit more than the front. Again, I always try to think about the areas rotating away from other points of the painting. It's not all just left to right for instances. Forward to back, angles, light bounces all over the place. Try to think a little bit more about that. Warm here, I'm actually going to add a little bit more shadow to the face. All this is combined obviously. I'm working over the top of everything right there. You can see the difference from that, and sometimes it's good to get in the habit of being able to do that as well, not worrying about everything being too segmented. In the beginning that's helpful. That's what you want to do, I think. As a beginner, you want to really get used to being able to segment your work and process it more effectively. But then as you get more and more comfortable with this, you'll tend to work off less and less layers, and also as the piece finishes up, you'll combine and start working over top of it like we're doing here. That's just really a process that occurs. But again, whatever you feel most comfortable with is the right way. Add lighting up here. Probably you can use this brush to texturize some of this area up here, rub away all these pencil marks, and just grabbing some of that brown and drawing it in there. I feel like I'm painting at this point more than drawing. I'm going to select this brown trim piece, I'm going to grab just a light source of that into here maybe. That should work. It's getting there. Now I'll take this same style of what I'm doing. I'll continue on with the same layer, and work on this area. I'm going to go and time-lapse this next part, and continue what we're doing here. Now I'll just continue on tightening up the work, and repeating the process. Really, just selecting from the existing colors that are there, and trying to find the shapes that we want to see in the far typed material. Again, try to think from big to small, bigger clumps of hair working down into the smaller strands is always a good idea. Likewise, it's really the whole motivation or the whole technique behind this entire type of painting. The more you can think that way, I think it just tends to make it a bit easier to get to the end result. Working on the belt piece, the hair, really bouncing around and getting a little bit of everything. Now, I'm pretty much at the part where we're going to start working over top of everything. Obviously, we still need to put some base color into things like the ox head and stuff like that. But everything else has pretty much a want over effect to it, and now we can really start to just really let go and just paint. There's enough information there to work with so that's what we'll start to do. You see I'm taking that brush and shading over everything with the multiplied, really darkening it down and then coming back with the highlights in the final strands in the hair, the fur. That's about it on this lesson, and then now we'll continue to refine this. Let's move on. 14. Cleaning up the Edges: Now that we've got a lot of this information in place, we're going to start painting over top and really pull this together and add some smart colorizations, more texture and details to parts of it. Let's go ahead and duplicate this layer are really those group, but you hit duplicate layer. I'll give you another version of those. Double-click here. Backspace, call it number three. You can see a quite a big difference from step one to step two. Then now we'll continue to refine this new bit of progression here. What we want to do remember that the base layer was actually the entire perimeter. If we right-click here, go select from layer Create Selection, what we're going to do is create a selection layer. It Convert to Selection Layer right there. We're going to bring this up top and call this just Entire Selection. Pick the visibility off. Remember, we could just simply now click there and get our selection. What we're going to do from here on out is just really paint over top. If we need to, we still have the ability to edit and go back. We're going to merge a bunch of these layers together. Remember, we've got a complete backup of all these in the previous groups so really don't need these. Now we need to be aware of that if we were to just start from the top here and hit Command E, really keep an eye on the artwork. See how it changed right there. What that is, is some of these combined modes just don't seem to react or mix well. You want to try it that way. If that doesn't work, you want to hold shift, grab all of them. Right-click. Combine selected. Then let's make sure it didn't do anything. Adverse Command Z, Command Y. It's all held together and you really want to be careful of that because again, sometimes these combined modes go a little wacky. Now we've got our selection to work with. We know that we've got our backup and here, if we need to select just a particular area of something, but we should be pretty good. Everything's pretty visible. We know what we got to work with. This will now allow us to tighten up things. It's not too hard to create selections within the painting if we need to. We've got the entire selection created. Let's get in here and start painting from what we've got and try to tighten this up and see what we can do. The nice thing about this is we can now just have fun with it. We don't have to think too much about what layer we're on or anything like that. Like I said, we've got plenty of information to work with. I'm just going to start randomly grabbing areas that need to be tightened up. One thing I like to do is just take a certain area like say this trim piece of the arm here and just add in a shadow that I'll use to clean up the one side pretty quickly, something like that. Like while I'm here with this brush, I can add in some more detail to this material. I can picture how it's gonna go beneath the arm here and shade that bag. This is just really can be a quick process or it can be a very lengthy process based on whatever your painting and how detailed you really want this artwork. Just depends, but to me this is more of the icing on the cake. I always enjoy this part, the most some people enjoy rendering and pulling it all together. To me it's the other stuff is almost the work and then this is the fun part, which I don't know, it's all fun but and then now since all merge, we can easily grab things like blend and blur and just really bring this paint together like that. Now I'm just thinking about edges. Another thing that you can do is you can use the blur brush here. Say you've got some edges like right here. I actually don't like the factors, some of that other color there, but let's see what it does anyways. You can just blur some of these edges together. That can actually do a considerable amount. It can allow times wash away the pencil marks. You want to get in the habit of soften it up a lot of your edges anyways with the blur or blend but blends is going to smudge the pain a little bit more. But blur is gonna give you just that nice soft effect on some of the edges so that the entire paint work isn't all very crisp. You want nice areas of contrasts and want some areas that are crisp and to find other areas that are soft and subtle and all that's going to give you a more well rounded painting. This can be a really useful technique as well as a useful tool. Pass that obviously you can blend with the paint like I do a majority of the time now. Selecting from existing areas, moving some of those colors around. We're going to also introduce some more textures just to show you how you can really keep adding to this and bring it out. Here I'm obviously just drawing in some texture if they like, the leather needs to be a lot more stuffed up and have some effect to it. Just slowly picking at it. Grabbing bits a shadow, but to highlight and going back and forth. Also feel like the dark needs to be a bit darker here. You can see I'm able to accomplish a lot just with the pencil brushed with this setting. By setting it to the low opacity, it's working a lot like a paintbrush or a marker or something like that. Again, you want to really experiment with lots of brush settings and see what you come up with. Then you'll realize that you can get a lot done with just a couple of them. Then over time you'll figure out where you can make huge savings in time by getting a setting just the right way. Let's work custom brushes can really be amazing in what they can do, especially for texturing. Texturing can take quite a bit of time. So just little bits of doing that, just grabbing from what's here. It will not be afraid to scribble and adding little bits of periods of interest and mocking it up a bit. But I think it looks more interesting and more impressive. Then little things like adding a drop shadow to one side and a glare on the other can give you these nice little depthy effects to the other. This really comes down to how much detail you really want to see in your work. Again, you want to be very aware of how much you put into this and what's really is going to get viewed by the end result, basically. It's nice to do all this. But if it's only going to get viewed from say, this distance, then you really got to be aware of where you're at in the painting as you do this. Let's move over here, tighten up some of these edges. Same thing, I'm going to grab some of the shadow colors. I actually want to think about the shadow on the arm here. I'll place that first. Then I want to think about the light source on this side. I shall make sure both of these are visible. I get a little bit of resemblance from one side or the other. When in doubt too, if the shape is just really misconstrued and pretty messy, it's pretty easy just to think a solid pen, whether it be this pencil brush or the G pan or the smooth water color, whatever you want to use and just redraw the shape in. A lot of times it seems like why would I do that? When we took all this time to set everything up? The setup isn't really for the cleansliness of the shapes. I mean, that's part of it that you get out of it. The setup is mainly so that you can get all the base information in place and not get frustrated because or at least that's tends to be the reason why I do it. Essentially, when I first started painting like this, I would get very flustered with all the details. This was a way for me to get the details in place and sit back and analyze the work and not get too bogged down by it and then ultimately not finish the piece. There just ends up being so much information and some of these that it's really easy to get caught up and all that. Setting up this work this way can really streamline the process. I want to see a little bit more shading beneath here. I'm going to take a soft brush here, go to the shadows at the multiply, shade this up. Also get some other shooting under the chest here, home here. That's really the benefit of working this way. Now I can bounce around a little bit more, not worried too much about it. We have to work on just one area to completion. Hopefully you can see that as these edges start to get tightened up, this messiness will start to make more and more sense. A little bit of bounce light right there. It's always good to think about light, not just on the top, but that it can bounce off objects, bounce off the ground, come up. For instance, it's even there in the chin here. You could make the argument that the polite has bounced up, hit the bottom of the chin just a little bit. It doesn't need to be very strong. Then place another shadow right below that or above the light source, I should say. Sometimes you get this little ridge of light on areas like this. If not, you can just shade it back or get rid of it. It's totally up to you. But it's good to think about reflective surfaces and that a lot of surfaces within a character will be reflective. Now, let's tighten up some of this necklace here. You can see it's pretty messy right there. I probably could've saved myself a little bit of headache and get some of the pencil lines out of there, but they're not a big deal. They clean up pretty easy and they're pretty faint at this point. Sometimes you can actually use that to your advantage to use some of those little texture line or some of those pencil lines can look like textures. Just leave some of that in there. But in this case we're going to get a lot all there. I'm just going to paint over it though. I actually wanted this to be a smaller series of bones right here, separated right through the middle, something like that. Again, if I'm trying to put a shape back into place, I'll pick more of a solid like the pencil tool. I can draw a little bit faster, re-illustrate the silhouette of what I'm looking for. The smooth water color is just more beneficial when I'm trying to blend essentially. Let's pick a little bit more of a light source, get that in there. A little bit more of a shadow, get that in there. It's just that repetitive process of shading and highlighting everything and grabbing from that existing work. I'm letting this turn out to be a little bit more of animated, but a little bit of animated vibe, I guess not too overly realistic. You see, I'm just jumping around scribbling. I'm having fun with it, not worrying too much about anything at this point. I've got enough of that painting in place where I can just enjoy the process. This is what I meant about those textures and seals on lines there from the pencil marks, they actually look like they were painted in at this point. Because they're subdued. They're not too awfully crazy in your face, so it's easy enough to just smudge those back, even keep some of those. This here, I'll just blend all that in. Actually blur. I'm on the blur brush. Probably the only distraction here is that some of this color is leftover from the fur. That part I would probably get rid of. I don't think that really helps it. I'll just be a little bit more meticulous and get in there for that. Again, to quickly clean up some of this, I can just say, okay, well, I need a drop shadow here anyways, or cast shadow or whatever and just grab a dark and drop that in there a little bit. Clean up that edge at the same time. Just little things like that can make a big difference on how you look at something and how hard you think it might be and you just realize, oh this isn't hard at all I can save myself some time and just do this and this. It's all about figuring out these little techniques. You really start to pick up speed. It's one of the things that I truly enjoy about digital painting because once you get more confident with it, you can paint rather quickly. It's not always that easy in a lot of the other styles I've already created. Not nearly as quickly anyways. Here all is probably a little bit more of the skin tone right here. You can see I'm working off of a low opacity still. I have to hit some of these areas a couple times or just jump in and change the opacity over here. Then again,a little bit of a shadow off the skull here. Details and motif. Let's grab the soft airbrush and shade some of this right through here. Even adding shadows like this can sometimes clean up a lot of the edges too. Bring it all together. Even though this is on the light side, there's probably still going to be a little bit of a shadow, again, some material there. We'll get that in place. I'm going to go back to blend, and we picture that this actually goes right onto that necklace area. I'll paint on my color back here. Let's zoom back and check the work. It's starting to come together. So let's wrap up right here on this lesson. In the next lesson, we will continue to tighten it up. We'll actually work on the ax, next we'll move on to that. Let's press forward. 15. Detailing the Axe: Now, let's work on the ax head and even that gauntlet area at the same time. What I'm going to do here is grab the smooth watercolor brush, smooth painter, and just grab the dark that's right here for now. Start with the large brush and work through some of the details here. Again, work in large to small and clean up some of this. This is going to be the bottom that's getting a little bit more shadow. I want to think about this whole side is probably going to be in a bit more shadow than the edge over here. Notice, too, that you can really just use this brush to soft erase or smudge those lines in. That's what I'm doing there, using just the weight of the brush to clean up some of those pencil marks. Picture this being a bit raised, so there's going to be a bit of a drop shadow right there, cast shadow like that. I'm thinking some gem there. We'll just say a reddish orange something, a power stone. It's always fun to do. I always got to have a little bit of light source in there for it to look specular like that. It looks like a little bit of a smiley in there. Didn't mean for that to happen, but hey. Something like that. That looks like a piece of fruit or something, but we'll work on that. No worries. Now, let's go back to the dark and let's add some shadow around that. I'll just blend that in. Again, it's going to be a little bit darker on the one side. Let's go ahead and do the same thing where we're going to pick the main two colors that we're going to work with. I'm going to hit X and I'm going to pick the light source, but I want to go a touch brighter so that it shows up as I start to do this. It'll ultimately look like three different tones, I guess, but there's just a lighter version of this particular color. Again, smudging back some of that line work. I don't mind there being some of that in there because it'll add a little bit of effect in there. We want to push some of that back and we want to think about those plain changes. Again, right through here, there's going to be a plain change. I don't know if it'd be that dramatic, but we'll start there. We can always work back. We want to get the edges of the material or the cracks and things like that. This side is going to be a bit darker than that other edge that we're going to see just a little bit of to the right. I'll just use the smooth painter brush to show the transition from edge to edge. I'll probably take the soft hair brush with multiply and get some of the shading done first. I think we might even switch back to the pencil tool for this. I'm not getting quite the crisp feel that I'm looking for, but we'll start here and just get the ball rolling with this. I'm just moving around, placing the shadows where I think they might be, and trying to figure out some of these shapes. I probably should even look at it from a distance since we got this other window right here. Keep in mind, you really want to grab outside of the artwork. I think I made a couple little, yeah I did, couple little marks. Try to grab outside of the artwork because it's a little bit quirky the way it selects there. Let's move this over so you can see the ax head, and let's continue on. Again, let's grab that soft brush so that the shadow and multiply. Now, another way to do this, if you like, just to give you another tool in your toolbox, is you can just take your marquee tool and do selections around it. Now, since we're working on the primary layer, we really don't need that selected. We can lock transparency. I had that ready just in case I wanted to add an effect with another layer, but you can now grab each area like this, put on a hard-edged shadow like that, and work in some details that way as well. I don't really want to incorporate the shadows like that, not that way for now anyway. We're going to just go to the pencil tool again. I'm going to try to use this to both show the cracks that I want to see in this and shade it, but I may have to place the effect, and then, blend it back. I want to blend out these edges because I find those distracting right now. Then, now, let's repeat these. I also want to get some detail inside here while we're at it. Something like that. Really just trying to figure out what I want to see in this. Well, that's another part of it. Sometimes you just see that something is not right, and the next stage is figuring out how to improve upon that. Not necessarily that you entirely know what you want to see in there, but just not as good as it could be. Just a little bit of texture. I like the feeling that it's just as really awkward piece of material that hasn't been shape and real world. It's pretty clunky and almost weird-looking. Sometimes that can be fun to slide in the piece. I think that's what we're coming up with, but I like it. Let's try a highlight. Punch up some of these areas. Again, we could do the same thing with some texture at the same time, save a step. Let's try that. I'm going to take that particular one. I'm going to set that to color dodge. You see you can throw on some stippling as you go which will make it look a little bit more realistic. Let's go back to highlight and I think it look like this. Centerpiece might be glowing a little bit, let's pick a corresponding color, let's profile like that, but we'll just go with it for now. I might change that color that, I thought I would like that oranges to red more than I do know. You can do all fun stuff like this, you can make it look like it's glowing in the crack, the material, the glow dodges, and color dodge and things like that can always be fun effects per powers. Let's work on the handle a bit more. Now on the handle, let's first do a drop shadow off the ax that's on the handle. Again, we've got a lot of transparency so we can just grab right through here. I'll do a rigid selection just to match the material. Take the software brush with shadow, multiply, just hit that. I actually got too much of red there. Let's go through just a dark. There was a drop shadow on that part, and then we can do the same thing right here. Again, just making that selection and putting that shadow on there and it helps to separate those areas. We can even think that way about the hand. Again, make the selection can go around there. Using the edge of the light transparency. Then we'll make this one a little bit darker just because again, we don't want lots of variation in everything we do. That looks a little bit believable. In this, I would do this more at the end, but you can also start thinking about, okay, he's got a pretty big arm. Maybe it's sitting over top of the leg casting a shadow against there. That's the end result but those are all great ways to keep reshaping the work adding to it. Now on the handle, let's hold R rotate this base part and move again, Smooth painter, and I'm going to select from the existing paint here. Just try to get in some of these bridges more quick. Let's look that just can't show that separation. A little bit on the edge like this. I'll grab a little bit of this light source and pin on the side just a little bit. Say in any of the areas where it hits the actual edge, it's easier to clean up that line work because you can just smudge, put that Smooth paintbrush, and you can just blend that bag. Pretty quick. Begin to get appear, get that randomness and the edge go on. When somebody spots bag with a light source over here. Usually if I can't figure out the light source color, I'll just take the highlight brush like this with color dodge. Even if it's the same color, it'll always punch up a light source. It's usually pretty usable. You can usually get that and go, okay, I can sample from that color and use it. I just cheat and go with that for a lot of light sources. Like everything else, check it from a distance, but we can already see it over there from a distance, so it's good. Likewise, we can continue to chisel those out. We can select it and maybe get in here with the pencil and bring out a few more of those edges. It always gives a nice look. Then down here with the hand, the hand still pretty clunky, but while we're here, just select the finger, but go back the other way with it. If you notice I brought that selection up and I could just take the smudge brush, I'll use the fingertip and just bring that down. It's basically just grabbing all that information, pulling it down. That can be a quick way, sometimes you just finish off an edge and adjust it or whatever. Like that. The ax hat is still a bit unfinished. So we can keep picking at that as we go, but really just blend back some of these lines that thank God a few more highlights and call it good and I feel like it needs to be ultra-finished but it's really just the same process. At least you will understand how we get there and then just keep adding to it to your heart's content. I want to really just pull this down to how much detail do you really want in this? The other thing is to always mess up these lines too. It's better than just having a series of drawn out lines. Whenever it comes to a painting, is at least just having some rigidness. Again, that variants to those lines. Those lines can be there but instead of them just being clean drawn out lines, just at least take a Smudge brush and move them around. You can usually get a pretty nice effect just like that. The main things that I look at early areas where it's discolored, there's just another color in there altogether. Let's make sure these other layers or groups actually worn in the way. So you can see that this coloration was showing up from these other layers. Some of these lines are there because they, they basically just look like scribbles. They added to it in some way I'd leave them, but they just resemble scribbles. We don't want that in there. It doesn't add to it, just get it out of there. Again, grab some of this light source, punch up little more, hit some of these edges, and I think for the chips and the ax head, and that's what these are supposed to be on the edge. It'll look a little bit better to shade those inward and possibly grab a light source to the very edge. Now let's see if that makes sense from back here. Yeah, I think it's starting to get there. I actually think I want to change the color a little bit more, but we might be able to fix that as we add our final colors to really bring this together. Now let's go ahead and work on the hand and the gauntlet area and tighten that up a bit. Let's move forward. 16. Detailing the Hand and Wrist Armor: Now we're going to take up the hand and the goal on, on this side, we've got the handle there, almost there, but it's still a little bit loose too, but over here it's pretty rough and it needs some refinement. So what we'll do, another useful thing about these two windows is we can zoom up on the one side and use that for a little bit of reference so that we make sure that we get some of the same details over here. So let's go ahead and do that. We're going to take and draw out a little bit more detail. So you see, we don't have the separation from the nail here. We need to get that drawn in. Try to paint it and as I go but you at least sketch in the lines, get it going. We need to clean up a lot of these little sketch lines and edging. So now at this point with everything being merged, I just do a lot more of selecting and add. So if I want to change something shape-wise, I'm just going to select this other edge and push the colors in and try to adjust the forms that way. So let's move that around. Again, try to select from all the information that I have right here and get in some of the lines to the knuckles. Clean up some of the coloring here from the edges, and likewise right here. So again, still, that live transparency feature helping us out. Probably a little bit of edge sliding, right across here. It's always tricky to figure out how much this light, you really got to think exactly where the light may be so that you just start to envision how much it would wrap around a certain plane change and then how it dissipates, and then you have to think about the way the light would pick up on the other side of it. So that's really the whole, series of things that go through your mind as you do this and then it's like, okay, are they multiple colors of light? If so, how would those colors react, like colors they're hitting and just gets in to all this stuff. At this stage we're still just making what we have work. Then we'll add those colors and try to figure out that final bit of information right at the end as we clean this up. So now I can use that smudge, softly push back some of these lines till we get a little bit of that detail that we're looking for, for the knuckles. Not too much. You want some of this stuff to be a bit subtle. You don't want it all to be very visible and in your face all the time, it's got to be a nice mixture of subtle and impact. Again, looking at that hand over there just to make sure it's in the ROM. I'm thinking this one's starting even look a little bit more detailed than that, which is fine. We want to get some of the shadow and from the hand, again, we want to think about the way the shadow might react as it goes around an object. There should be some shadow back here. Might be even a cast shadow back this way. Back this way and it's going to round what the form. So you think about that and emulate that. Just little things like that, and then there will be smaller wrinkles in here probably. So I'm going to just going to be larger clumps of wrinkles and probably going to break off into smaller ones, and so on and so forth. Then that again weighed with the option of, okay, how much detail are you really going to see? You know, you got to remember too, that detail also directs the viewer. So the main things that will direct the viewer, I would say, is for one, the light source and the intensity of white within the painting. That's first and foremost, that's usually why glare is in the eyes and things like that are so impactful because you can really direct the viewer by that bit of information. Then other than that it's detail, it's what things are in focus and that's the detail part of it. What things are in focus and what things are not. Intensity of saturation is a big one. So you can, make sure certain parts of the painting stay saturated to direct the viewer. So all these things are just devices really, and some of it, obviously will just stand out in the wrong way where it's like, that's just not correct so it looks bad, so you got to really think about that. But other parts can be used as devices to actually direct the viewer through the composition of the work. Let's see if that's enough information for the hand. I'll probably push a lot of this back, but it gets it started. I think to the light source can be a little bit more impactful, right on the very edge here of the hand. Okay, so let's work on the gauntlet part now. I'm still trying to decide if I want that gauntlet deck should be changed into more of a bone material like what's down here. Let's just see how it goes. I'm going to grab the smooth painter again, blend some of this line work back. It's all messy anyways, so I'll get that out of there. I've got to decide if I was to make these bone-like shapes, I would probably have ridges right across and through here. Then I would probably shade those with corresponding color like the eggs heads guy. I don't know that this will be a bone material, but at least something that resembles or matches those other areas. I just think it would be neat to have this textured ridge on it like this. I've got a perceive that it's going around this cylindrical object of his wrist there and you just got to remember that the way you do this will impact the size of that form, how it looks. Even though you can just draw these however you want, this is something that generally will make something look correct or incorrect, even in a fantasy or scene. There are certain rules that you still have to abide by and perspective's one of them so what ends up happening if I was to pan back here, it works, but it looks sunken in too far right here. I'll show you a quick fix for that. I'm just going to select this whole area right through here, actually make sure not to select the hands, I'm going to hold Alt, deselect this, I don't think this part will matter. Then go to edit, mesh transformation and I'm going to try to just grab the middle pieces here. Now if you can't do that, you either have to increase the size of the selection or you can add more vertices, I'll show you how to do that. When I hit enter there, deselect, you see it pull all the way from the hands, that's not what I want there. Command Z and Command D to deselect and I'll show you how to add more vertices to that. Okay, so let's do that again. Let's just try to grab further outside of that area, like that. Let's go to edit, transform, mesh transformation and before we start manipulating it, we up the vertices like this and let's say right about there should be good and then we just have to make sure we don't grab on the inside of them. Let's do that again because I somehow released that so seven was the magic number. Okay, as we grab this, if we stay in the inside of them and again, I'm going to grab the hand because if I don't, it's going to create the artifact of that edging which isn't hard to fix, but I'm just going to do it this way, I'm trying to reshape that information on the gauntlet and I may need to do it another way. I actually like the hand being wider. I think it was too compressed inward. I actually like it a little better like that let's hit Enter and check the work. I always do this, hit Enter Command Z, Command Y and I go back and forth and I just look at it, zoom out. I think I like that better let's check it from a distance. The hand does look larger than the other hand, but I can always increase this hand size, it's not a big deal. I still don't get what I'm after though. What I'm going to do is take this area here, like this, I'm going to go to Quick Mask and I'm actually going to paint this out, that I get a softer edge on the mask, I'll probably just need it on the sides there. There's my mask. Go back to selection, Quick Mask, and even though it doesn't look like it did anything, it's still there, what we just painted. I'm going to hit Command C, Command V and actually just placed a copy of it with that mask right over top. Now I can take this go edit transform, mesh transformation, and I'm just manipulating just that area now. I'll still probably need to add more vertices. What I am essentially trying to do is take this area here and push it this way. Things seem a little bad over there this way. It's easy enough to repaint this, but I'm really trying to show you so that you understand how to do it. Let's do it again, mesh transformation add a few more of these, that should be plenty and see now we can grab just that area, it takes a little bit of practice and you're not always going to be able to get the job done with this, but it's a pretty versatile tool. I want you to be aware of it. Hit Enter and you can check the work by taking that on and off. I think that looks a little bit better perspectively, let's go ahead and hit Command E to merge that down, and continue on. Now let's take a little bit of the shadow and lets paint through here and a little bit and also down here, I'm going to take multiply, soft brush would multiply, set to more of a dark, it's still locked and brush in a little bit of shadow down here. I'm actually going to do this from a distance as well, I just want to round that out a bit more, I would picture this it's going to be a pretty heavy shadow all through here. Again, the beauty of doing it this way now that everything's merged, there's no real reason not to jump around and again, if it's something that will add to it, if I see some more areas that need to be changed, I am already here on this particular brush, I'll do it. Whereas before it was a lot more hesitant because of the separation that we had going. Just like that and likewise, I'll take a little bit of light source right through here and I can then take that, select it, paint with it. I want this to have more of a textured look, I'll go and corporate some texture into this as well. But for now we'll just draw it in and then here I want there to be little bumps, so I'll just take that light transparency off, I use more of the solid brush, select the next corresponding color and just add that silhouette change basically, simple as that. Then check it down here, I think that's about right down here and then put the light transparency back on. That should be good. I'll be able to get away with a lot when I add texture to this area, probably throw on some right now I'll dab in this brush around and blending some of this back. Essentially just trying to rough that up and make it look a little bit more interesting than it was, not so plain. Yeah, it's starting to get there and while we're here, I'll go and take one of the stippled brushes, let's try the spray, and that's probably about right, but with a dark and let's go ahead and generate a selection. Select from layer create selection, I'm sorry, actually I could have just clicked that right there for entire selection and let's go ahead and add a layer set to multiply, throw some of this in. This has to be set to normal mode and I just want to start getting in these little bits of texture as we go now. Enough of that base painting and place to really start doing this and bring it out even a little bit more as we go. What I want to show you is that a lot of this, you can adjust your particle size right here, you can brush this in, it could be a little bit bigger and you'll grate it up, give it a little bit more effect, play with the opacity, it doesn't have to be in full range or you don't have to see it very visibly for it to add to it. While you're there, play around with a light source version as well. Put some color in there, whatever, but just add to it essentially. Toggle the layer on and off to check it if you deem it worthy and it adds to it in a good way, hit Command E to merge down and just continue on. Okay, so now what we're going to do is move on to the next lesson and we'll work on these leg guards a bit. Let's press on. 17. Painting the Leg Armor: Now let's go ahead and work on the leg pieces here bit. Again, we're just going to select from the existing canvas and work from that. I will start with the smooth painter here. We're just going to work right off top this layer. Again, that's the thing where as you build more and more competence in existing paint work, you can just really almost do away with layers, but layers are still nice for checking components of it. Also, you could possibly even just do one scale and copy it with layers and the manipulated into place with things like the transform tool, distort or whatever but I'm just going to go and paint these hand because there is a lot to be said for getting that nice hand painted look to areas of the work like this. You've got to be careful when copying textures and not making it look like copied textures. This isn't that much now if these were smaller and there was a lot more of them than we'd probably do something like that. But notice I can just use the weight of the brush and I can blend a lot of these little artifacts out of the edge work. If you press just softly enough, you really won't even he didn't need paint, but you'll still get that ability to blend, which again makes us brushes extremely versatile. I can push back all these lines they almost just gives it almost like the blurring brush. I can sample some of those color, push that into place and then blend it back. I want this to look a bit rounded, almost like it's a rounded inset piece, so I just put this a little bit of a shadow like that then I might take a sample, a little bit of this light source up here, brush that and so on and so forth. There's each time doing away with a little bit of these lines as I go so come up here and some of this and just get some of that line work out of place. Now, there are times that you want to keep that line work in there and it provides a different effect. In this case, we're trying to get rid of a good amount of the line work, maybe not every bit of it, but a lot of it. But it really just depends upon the style you're after and how much you'd like to see in your work. But it can definitely provide a very nice look, I'm big fan of that type of painting too, where you leave a good among line work done there and had a clean line workup more in beginning stages, then I'd probably more prone to keep it. Provide another one and put that work into it and it's still not too late to do that. In fact, it's probably another great technique to play around with, is get all this detail work in plays and then even come back and add some more line work to see how you can really finish that off. Let me get rid of some of the artifacts here I'm seeing. Now when you go over something and it doesn't disappear, you got to take off that light transparency, blend it and then just put it back into place so you don't mess up your edges. Sometimes that gets saved in the light transparency setting. Let's find a good light source color for the scales and we did a little bit over here, so we want to be at least aware of it. Doesn't have to be the exact same color, but let's start with that. Grab a dark pencil brush, and give in just a few of these little edges. You can see there's this gradient shading that goes over this, I can't really say at one, but there's a gradient shading that goes over that way and then throughout that, we've got the dark drop shadow of each scale and then the little bit of highlight. All these little affects work together and then they start to make sense and make it look like arrays scale or something like that. You see it's not overly perfect and the placement or whatever, like there's definitely some [inaudible]. It could be a little bit better. But I like again, that hand drawn randomness that you get, but sometimes it's not perfect, can actually look better at times. Even when I tend to Copy and Paste the texture, I'll try to randomize it anyways, because it just looks too fake if you just leave it all perfect and you've got to make sure to mess it up a bit. We could probably perceive that the scales on this side, based on the turn of the the leg would just take over the edge there. Then also we can do, we can grab the G pen, take the light transparency off, grab this bone color, and then what we'll do is we'll just have it look like it's protruding out right there, but then it's slowly coming back and then fading off behind the other color. l will just illustrate that here. Essentially we're changing the silhouette again, which is quick and easy to do. While we're here, we can grab the other color, maybe do a little bit more texture and edging to it so it doesn't just look like one color at the edge there. Little bit of a shadow there. Can grab a shadow from those color, get that right on the very edge here and as a drop shadow here. You can see it's really just a series of pretty simple techniques to do all this. It's just knowing when to implement them and sometimes just experimenting and implementing them not even knowing when to, but just to do it and then sit back and analyze the work and make good judgment calls from that. I know there's often a lot of times when people will just stop making decisions in the artwork and then we'll just call it done when really they're just holding themselves back from continually making new decisions in the work and then getting to something better. You just want to be careful not to stagnate the process like that. Just keep adjusting it, keep zooming out, looking at the work, if it makes sense from a distance, generally it's working. We'll grab this and go to highlight and make sure to lock transparency again. Let's take the highlight brush now, remember that you can even select the existing color like this but because it's set to a glow dodge, it's going to punch up that light source. I'll get that just in that one side to run that out a bit more and maybe even a little bit of bounce light over here, but not much, just enough to give it this bounce light or difference from one side to the other. We can also, while we're here, grab stronger with multiply and you'll brush right through the middle there. Again, just trying to change this a bit, we can even maybe shade each one of these a little bit more. But I think that pretty much does it right there. Then one last thing we can do if we really want, you notice that the highlight is stronger in some of these areas for the scales, we can take a little bit brighter version of this for this area right here. I actually I think it needs to be even lighter than that and see if it makes sense. Yeah I don't know if I like the color, but it does show the bubble on the edge of that little slightly and that's all I want. Now, I am going to say that it would be really easy. I just want to show you if you're under time constraints and you're really trying to press forward and get a job done, the work is pretty much in place right here Command C, Command V, just going to try it up. I'll probably do it by hand, but just want to show you that you want to really think in a lot of different ways of manipulating the work. Try mesh transformation see if I can bend this into place. It doesn't really look good there and it would probably look better if I flipped it and then did it. But then the problem is the light source wouldn't be there. But I just want to show you, it's good to experiment like that because, you always find some real time-saving opportunities if you do that. We're just going to go and paint. I'm actually going to get rid of this flipped window as well. We'll just go ahead and copy what we've done here over to here now. Again, we can use the existing colors as our palette. I'm really fond of fine line, I should be using the pencil brush, it's a bit quicker. I can't stress enough that you really do want to play with the settings of your tablet. If you're not getting the type of line making that I am, you really got to get in there, jump into your settings and mess around. We all have very different hand strengths and devices and things like that so you really got to be aware of what your tablet's settings can do. You can't cover that in here because there's just so many different devices, but it is worth noting that you want to really mess around with those. Don't just think that you get the best out of the box. All right. Again, we can grab some of the gray over here. That's about that same color there, you see I'm able to do a lot with the pencil brush and I think the dark pencil or regular pencil brush kind of gets overlooked as a painting tool when it comes to digital painting but like I've mentioned probably multiple times now it's one that I use quite a bit. It's very versatile, especially the opacity turned down. Now let's get some of this light source in place. We can even select from this color and just use something like, let's try see if overlay will match. No, it's too saturated. Or let's just continue with the same way we did it. So we're going to do the highlight, glow dodge, same color, a little bit of light source. But now we do want to think about the fact that this leg is pointing in a different direction, so the highlight shouldn't be identical to over there. That's one of the things where it gets really tricky with light sources and with painting in general to really think about those things. What you just have to do is make sure that one side, depending on where your light is, is going to be more vivid than the other. Let's quickly jump over to multiply again with the dark and let's push this information back more. I'm going to probably do that against the whole front of this leg. Actually, I'm going to take it back, I need it to be more of a black and a red to shade the top part of the leg. We want that difference where this leg is catching more light than this leg so we could really just go through a lot of this area here and shade that back. Let's just keep picking at it. Let's try. Let's add some of the edge light, some of these. Again, it's probably a little bit more subtle on this side, but there's still feel it should be apparent because it had so much to the look of it. Obviously too we could just drop the opacity back right here. Probably a good idea, have a more natural on the application of it. Just remember, about where you are at and put it back or something like that. Again, just grabbing from this, I'm just going to use this as the coloring but you need to make it a little bit less apparent on the other side. Here we can change that silhouette again. We'll grab the G pen, bring out that bone shape, more like that. Lock it back into place. I'm going to grab the smooth painter now and I'm just gonna blend some of these little lines. You can see there's still a lot of little edges and lines all throughout and what I'll do is I'll probably take an area where we time-lapsed through and I really just tighten up all the edges because again, it's a bit repetitive. All you're going to see me doing is what you see me doing here and then sampling from existing areas and painting through it. I don't want to bore you with just repetitive things here that you should be able to see just as I progress through it. Just softly pressing down, just using the weight of my hand really based on the settings that I have. But it's a good way to push all this line information back into the painting. Pretty easy to do and generally has a pretty effective look to it by doing it this way. I have to fight the urge to want to just go through the entire painting and do those right now. Again, we'll time-lapse that part when we get to it. But you see even these areas that have a bit of discoloration, you could pretty much blend them into place. It really doesn't have that adverse of an effect. I think the other part that is helpful to envision and to start doing in your work is really being okay with letting colors bleed into other areas of the work. Generally you're going to get a more realistic feel if you just are more open to introducing all these other colors into other areas of your paint work. Obviously, if it's too pronounced, then it's going to look like a mistake and you want to get that out of there and that's what we're doing here. But there are areas where it actually makes sense to utilize the colors from the neighboring area, the paint work. Now let's get a little bit more separation, so we want the perimeter of this to look like, pretty much like bones brought together, molded together, whatever the character did here. We're just going to select some of those darker color, probably from here and just draw in some of those little separations. I want a little bit of shading in this basal edge there. Let's pause on the base of this. I really enjoy this part where you can just stay right in the painting and just select what's here. It's actually almost just peaceful in a way like it's just fun to be able to just select what you've got and not worry too much about anything else and just continue to paint. Maybe cycle through a couple of brushes and that's about it and let's see if that makes sense from back here. Yes, that's starting to come together. Now what I'll do is I'll go ahead and do the next lesson where we're going to time-lapse, tighten up the work. Then I'm going to show you how to put in some texture and also how to utilize selections from the previous steps to minimize the texture, overlapping in the areas you don't want it to. With that let's press on. 18. Refining the Edges: Okay, so now we're just going to repeat the same process and go from area to area, holding the Alt key, selecting. I'm going to use a lot of the pencil tool just because it's a quick way to define an edge, I'll also be using the smooth painter on a lot. Pretty much exclusive to three brushes in this stage, and that'll be the soft round brush. Both when I use Dodge and shadows or multiply, combine modes and then the Pencil tool to draw in quick shapes. The smooth painter brush when I want to draw in the quick shapes, but then also blend them out. I'll be using the blending stump as well, the blending brush, but that's also a default smooth Rom brush, I believe. But again, you'll have access to all these brushes so that you can utilize whatever you want. Just again, I'm going to reiterate that you can really use even one brush to do it all. But they each have their strengths and weaknesses. Although they can do the other one's task, once you get more comfortable with them, you'll just quickly switch to another just to make your life a bit easier. Really, what my main focus of this is to bring out any cache shadows, define any hard edges, you see there I used a selection to do a drop shadow off the first time to the shield. Every edge that needs to be cleaned up that has a funky, fuzzy edge or whatever from the layers I created, or any separation from the painting. I generally will just bring those together by adding a shadow on one side, a highlight on another, a series of blending effects so if I want to smudge a shadow so that it looks more rounded around the object. Or if I want to smudge it and maybe see how it looks with a little bit of texture, that's pretty much what I'm doing with the feed here. Obviously, I'm adding highlights to areas that are higher on the foot or more to the side of the light source. But then also I'm smuggling in the shadows just to get a bit of texture almost like, not just the veins, but then also a little bit of grit to the scan almost. Even though we're going to add in some texture in the next lesson, I still paint some of it in just naturally, it's almost hard to resist because you just really don't want everything looking too awfully smooth. Up until this point, I've actually left it smooth on purpose because I want to show you how to introduce texture with a layer and a brush. But at the same time, you really can draw in your texture. It's back to that same thing of you can do everything by hand or, and by hand I mean by simply using one single brush, you could draw on all your texture you could scale your brush down. But as you get more and more comfortable at this, you'll just figure out work rounds and you go, "Well, I could probably do that a heck of lot faster by painting in the texture with the layer, manipulating the layer, and then merging it down" and I'll show you that next. Again, using that selection tool to isolate areas of the painting. When the painting is all merged like this, you have to do a little bit more of that. But if you notice, I'm not doing an awful lot of it. I'm able to paint by just selecting from the canvas and bouncing around. It's not really too tricky to do that. Now, if you want a very crisp edge to everything, then maybe those selections would be a little bit more to your liking. But you'll see that as you again get more and more confident with your paint work and the way to use the brushes, that you really can do a lot of it without creating selections. There are certain areas where selections are just imperative almost, you just really want that clean edge and that contrast. One quick tip for you when you're using selections, always remember that by hitting Command Shift I or Control Shift I on a PC, that you can invert any selection you have. You can also do that on the quick command bar that pops up when you create a selection. That's really important because as you're in that area, you really want to think about getting the most done. Notice too there, I created a layer over top and actually shaded in that skull, and then bumped down the opacity and hit Command E to merge it in. That's another technique where when you again, want that hard edge shadow or you want to shade something down, that's a really quick and effective way to do it. Here making the selection around the head, at first I wanted to cut and paste the head, checking it with a Quick Mask. But then I realized it's better just to make a selection layer in this instance and work off the same layer that I've had going the whole time now. Here this is a really good example of why sometimes you do want to create a selection. I want the head obviously to be a good focal point. That's generally the area that you're going to look at the most with any character. I want that to have some nice edge work. But also the fact that that fur goes behind the helmet, it's pretty much, again, almost imperative that I need to be able to paint behind there. All those strands of brushstrokes that I'm going to apply to do the fur are going to need to look like they pass behind the head of the character. Again, you generally can cut and paste a copy of the head or you can just save the selection like I've done here and work with that. But I am actually hitting Command Shift I to go back and forth. When I'm working on the fur, I'm using the log transparency in this case, or this particular part I'm not because I actually want the first strands to go past the edge to soften up that edge that I've created. But then I lacked transparency and start to paint back in. I've got the selection of the head and the lack of transparency of the edge of the character, both working in my favor so that I can really control the effects that I'm applying. Now there I'm using, Multiply I'll also use Burn effect to really intensify the shadows because I really want to push the effect that some of those hairs and bulk of hair are higher and lower in areas of that fur to really try to get some kind of resemblance of realism. Now just picking at it again. I really enjoy this part because I'm just able to draw and paint, not really think too much about any preliminary work. All that work's been done, everything's in place. I'm just pulling from existing areas. A lot of what I'm doing now is brushing in a shape and then blending it back. Generally with the smooth painter brush, you can do that all in one. But sometimes I really like the effect of drawing it in with the pencil brush, and then blending it back with the smudge brush or the blending stump. Here I let the sword hilt be really messy. I wanted to show you that because again, it's the idea that you can really paint through certain things and not have it be so refined. That's really what I let happen here. I could have soft-erase the lines in the early on stage and then redrew it. But I let it be messy, and I just wanted to show you how you can really paint over top of that and still get it to look pretty good. It requires a little bit more touch up, but you can probably see by the speed difference of the other areas of the painting. It goes by rather quickly, It's just neat. I always look at it like nipping and tucking like pushing one edge over with the shadow and other edge over with the highlight selecting from the existing color palette that's on there. Just really adjusting the work little by little, really. As long as you're making those incremental changes to the work, it's generally just going to get better. I mean, it's not always going to be a better decision, but even with a bad decision, you're going to know what not to do. It's really propelling you forward regardless. Here just adjusting the light source and the edges on those little skulls, drawing in a quick highlight to the one side. Here, I'm judging it from a distance and re-shading everything one more time with the soft brush. Hopefully you can see the main thing is that I just worked from large to small. Now I'm to the part where enough of that information is in place and I can just add in some finer details. That'll conclude this lesson. In the next lesson we're going to apply some texture. Let's move forward. 19. Painting Imperfections in the Skin: Now, we've tightened up the work and I just want to show you from the previous step how much of a jump you get just from tightening up everything. Everything's exactly in the same place, just tighter edges, more refinement. You see a pretty significant jump there. We're going to copy this one last time, and what I want to do here is put in some texture. A lot of things can really be improved upon in something like this with just a little bit of texture. What I want to show you is, first off, if we apply some to the skin, it'll make a pretty big difference. The sketch just looks too overly smooth everywhere. I started to naturally paint in some texture here. if you can see that, compared to this side, but it needs more. It needs almost the spatter brush that we've got going on with the armor. Things like that really help scan to look more impressive. Now, keep in mind if you go back to your previous steps, you really can grab from your selections there. As long as you didn't move any of your groups, that's all going to line up, except for any edges we changed as we painted. You might need to adjust a little bit, but it can still be a time saver, so just be aware of that. What we're going to do is jump back in here. Let's go ahead and apply a layer. Double-click here. We'll call this texture. I'm going to just take a blurred brushes or droplets, one of these. Let's try a spray. Let me zoom up here. What I want do is first add some highlight texture. I'm going to sample from the existing palette holding Alt, make it mostly brighter color. What I want to see here is how the texture reacts as I'm applying. Now, I got it on a separate layer so I could simply brush it in, hit Delete, it doesn't matter. What I like to do is adjust the particle size, get the effect that I'm looking for. Let's try. We've got a few of these little brushes here. I think it's going to be this one, but I'm not liking the density maybe. You can adjust the density of the brush and also the particle density. You can bump this back by clicking to the left right there. I'm still not getting the look I'm after. Maybe it's based on the particle size as well. I like that, but it needs to be just a bit bigger. I like the randomness it's giving, but it's just not enough. Let me also brighten it up just a bit. What I want to do is just brush this in, and then, I'm going to soft erase areas of the back. That's one way to control it. Others with the opacity. I would say another way is with the combined modes. For instance, if we take this and we do something like, well, the screen's going to be about the same. Let's try overlay. You see overlay actually works pretty good. It starts to blend back in the shadows and that's what I'm looking for on this particular texture. As I come back with the soft erase, I can really control that effect because I don't want it to be as noticeable all throughout the design here. Again, this is where you really just want to get into the practice of creating these randomized effects. Even being okay with the racing right through the pattern, and just looking for something that resembles a bit of natural effect, and you can see that even that little bit is already done a lot for it. It looks a lot more believable than the leg or the arm over here. Let's try to repeat this process. Again, it's going to look a little bit overdone at first. That's okay. We're going to also want variations to the size of these. We don't want all these to be the same size. After I get this first layer, we'll introduce another layer and vary it up a bit. I don't know that I want some that are really small. You could do that because it does add some realism from the distance. Even if it's not that visible to you, you should be able to see a difference, and even the very small noise pattern that you add. But what happens is if this is going to be viewed from quite a ways away, then it may not be as necessary. Again, grab the soft erase. I'm just going to do is from a distance. I'm using his upper left arm on our right to judge the intensity of it. The way I usually do it is I put the highlight versions of these to the highlight or mid tone of the character. Then, I'll do another set. If I want a pretty realistic effect, I guess, I'll do a darker set that comes out of the shadows. I usually don't just do one or the other. This may be enough, but we'll see here. Then, it's also helpful to do this when it comes to skin is doing another version of these with another color. Again, with trying to add good color variants to each aspect of the work as well. I think I forgot to add some on the hand over here. I don't know that I'd want these on the face. If I do, they're going to be quite a bit smaller. Let's go ahead and jump down the particle size and see. This almost looks more like a noise pattern of that size. I may just draw them in for the face. Again, just bubbled bag, definitely don't want them over his eyes. I'll erase those out of the way. Over the tooth, that wouldn't make any sense. Just little things like that. Even if it's just very subtle, I think it's important to do. You're going to get better at applying it over time. Subtlety in the way that you apply is probably a good thing. Let's push some of these back out of the shadows. I'm going to deselect so we can see it a bit better. Hopefully, you could tell that it adds a pretty significant change to the skin. It's just one part of it, but it does a pretty good job. Let's go back to selecting, will that give us our skin selection? Yes it will. Actually, I'm just going to drag this up here so we've got it in this group. Let's go ahead and add another one now. We're going to add another layer. We'll just call it picture two. Now, what I want to do is show you how to add a little bit more variants. We're probably just going to use the same brush for now, and then, let's add a little bit more of a darker blue. We want this probably set to multiply. Then, we want to scale up these particles so that they don't match the other ones. I typically will bring something like this as a darker from the shadows more, but I will leave a few in the highlight area because I just want the effect of a more realistic skin. I'm going to bounce around, place these. I'll do a once over. Yes. Seeing from this distance, I'm already liking that a lot more. It just has a more of a real presence to it. Especially this being an ogre, it's not going to have some overly smooth skin. In fact, you'd probably want to do a lot more of this type of stuff with an ogre. You'd want to do lots of scrapes and bruises and imperfections of all kinds. I'm going to go ahead and brush these in, here and there, like this. While we're here, let me get a few on the face as well. Then again, jump in there and erase some bulk. Any ones that just look awkward or whatever. Again, I'll probably just draw these in, I think it'll make more sense. Over the rest of the skin, I don't think it needs to be as controlled, but on the face, I feel like it does. Again, software raise somebody's bag mainly in the areas where it looks too consistently place you don't want it to and look and feel like a brush. Then the other thing I recommend is stuff like this, is just to jump in and add some randomness. Here on this layer, you can create another layer if you want or just, jump in there. Had a few more little specs that are, hand drawn in so you can really control the effect. Some that are a little bit oblong and things like that. As well as molded bet on other layer, I'm going to do a couple scratches I think he needs. As I'm up closer I feel like these need to be tone back a little bit. But I am so liking the texture. It looks a bit more reptilian and taught them. Say, I just dab in this around. Again, get a couple that are just noticeably larger. You can really just play around with, as you could say, okay, well maybe he's got like this larger shape here with a couple little ones coming off and, really experiment and try some different things to get the most out of it. I don't want to make sure to draw a couple on the phase. Could feel like they weren't looking away or wanted to on the phase here. The beauty of doing it like this again, because it's a separate layer. We could play with the colors as well. I feel like I need to get rid of some of the first layer that's almost a little bit too much on that. Again, quick fix to that as well as just to pump back the opacity if you feel like it's a little too much, as well as a combined mode. Let's hit Command D to D select. Just like that, we've got a bit more texture and feel to the character of skin. Now let's go ahead and add in a little bit more area of effect. We'll actually do some scratches and see how that looks. I'm going to add one more layer in the scratches or scars, I guess, like that. What we want to do is just get some imperfections in the skin. It looks like he's been through battle but he hasn't really gotten hit. Doesn't make any sense for something like this or this type character. What I'm going to try first is knowing that I'm on a separate layer, just going to draw in some line work. You can usually do this by grabbing a light source, I'm going to hit X here, grab a shadow. Just want to perceive where the skin would have a ridge her drops head almost my pump. Then you just want to mess up the algebra that you don't want it to be too smooth and perfect. I'm just going to bounce back from the highlight source and the shadow source. Put a little bit of a rough edge to it. Check that from a distance if it reads well, it's pretty close. It could probably be brought on a lot of ways. You could do some like a little bit of pinkish colorization around it. Now, there splatter brush there, but a regular brush. I might be able to, make it look like it's a fresh wound or something like that blending mode, let's homo. Maybe it's the color. It's all going this under the pink. Solving, see like stuff like that. You can start to add in a little bit more realistic effect. I'm going to leave it just like this. I think that looks pretty decent. Then what I'll do, I'll cheat a little bit and I'll just grab this and rotate it around and use it in a couple of spots. I'm big, I'm cheating when I can just because it saves time. Give it a different tilt. Resize it. Remember you can go edit, transform, free transform. That was a good one for stuff like this because you can really move it around and try to pull one side and an angle or something like that and generally will help it to look different as well as mesh transformation. Any little variants, so it doesn't look like the same mark down there. Obviously if we just make it noticeably smaller, metal generally help to. Now the other thing is, I don't want to use the same one over and over, so I'll create another one now. Go and merge these together. Let's try another one, scars too. The other thing, it looks pretty cool usually as if you create like an X pattern so I'll try that now. Let's again select that dark. Again, make the line rigid and some areas more open than others. Now if you do make it to noticeably different than obviously, you're not going to be able to reuse the pattern as much. But it's going to look more interesting. These don't take long to draw. Really it's not that necessarily that you recycle the artwork in this instance, but I'd just like to show you a couple different techniques as we go here obviously. This can usually look like a pretty cool wound or whatever. It equals cross-section there. X for the highlight PAR, select pilot first, I imagine you touch brighter the shadow. You can even take a soft brush set to normal. You can just shade a little bit through here. It just has a bit of a above almost like it's just a bit more raised or different than the skin that's around it. Actually it looks more like it's dimpled n which I like. I'll just leave that one there. I'll use it one more time up here. Hey, let me get smaller. Rotate it around so it doesn't look like the same mark. Yeah. It's a big thing like I want to keep adding them. Especially with a character like this, it just makes sense that he would really be all beat up. Let's try one more right across the lake. I do like the idea of putting one here because then you can get that little bit of a drop shadow on the very edge, which always adds to a more realistic effect. We'll do that. Again, we could have a tiny little mark coming off the side and a pretty big highlight on the edges. Since it's pretty easy to do. It's actually pretty fun as well. Try to figure out how to make this stuff look believable. Just like that, we've got some marks, some scars on our murdered. We're going to wrap this lesson up here, and now we're going to head over to the next lesson. We're going to add in some final colorization, some mood light to really add some more effectiveness character. What that, let's press on. 20. Painting in Final Colors and Effects: Now we've got all this work into place and we want to add in some final touches, primarily color. In this instance, I just want there to be more variation and the colorization that you see here. Obviously the character has a lot of colors, but each area is specifically just a couple colors. If we take things like, let's select just the skin for now. Let's add a new layer over top, and we'll just call this `color effect one.' In this case, I want to isolate the skin. Let's pick something may be like a purplish. I just really want this to be more of edge coloring. So I'm going to use a normal mode or command mode on this brush, but I'm going to put this one to probably overlay. Let's try that. Then what I want, is just to bring this purple light source off to the side, and this could really be a couple of things. This could be a way to just introduce some purple into the skin tone. In this case, I want it to be more of a light source. So I am going to actually apply it to other parts of the characters as well. But the reason why I like to do it like this, since we already have the selections to our advantage anyway, is not everything is going to reflect the light in the same intensity. It's good to be aware of that. You may just want it to be specifically brighter on one area, the character, that's up to you. What I want to do is get a pretty good edge lighting going here, and then slowly bring it into other parts of the character. You could think about things like, what areas are more specular, so maybe they catch more of this light. You can see it adds a little bit more of an effect already. This makes it look a little more interesting. I [inaudible] want to see it there, and obviously having the layers to our advantage. It's really great. We do got to be mindful. Again, if we changed anything from the existing or previous selection, we have to readjust that. So I'll just hold Shift, select through here a little bit right through here, and I'm just going to the side of the face here. Its just being a little light, about applying this effect. I don't want to go too fast. I feel it could even need some in the shadows there. Now let's drop our selection. Keep in mind, so we don't have to keep redoing this with the hand. We could save out the selection. I think I'm going to be pretty much done with the skin here. But just in case, I need to see actually right here, the selection went off from the change we made. So we can reselect through here, actually sorry that would be odd. So deselect, because we're just isolating the skin, like that and then we can resave out the selection, convert the selection layer as skin adjust to whatever you need to design it. Now let's go ahead and add in another light source, or I don't even know if I want to call it as a light source, but I just want there to be some more contrast. I guess this would be more of a contrast layer, but I'm going to add it in and call it `darker color.' So I'll try to contrast and add a color at the same time. I'm going to try something into a dark bluish green. The smear may not work, we'll just tap to test it out, try it with multiply. So what it really is, again I just want there to be a little bit more of an effect to the skin. It just looks a bit plain to me, so that's what I'm trying to do. As I adjust this work, if I can keep introducing a little bit more color, a little bit more areas of interests to the work, and that's what I'm going to try to do, it doesn't always work out as planned, but that's where experimentation is just a key to giving anything that you might like and something that you're not entirely aware of, you just got to experiment and try it out. Again too multiple the phase, and just toggle on and off the work as you go. I think that adds a little bit more of the effect. I think it could be a hair darker. At the end of the phase one to darken up around the eyes a little bit more. While I'm here with this extra layer, I'm going to check the blending mode, the combined mode, a couple other things. Color burn versus Multiply. Color burn is a little bit darker and that's really what I'm after. I'm trying to get some good contrast to the character. So now if I take that off, I feel like that's an improvement. That's what I'm looking for. Then now what I want to do is do it once over. Let's grab the skin. Not even the skin, the entire selection, like that and let's add in one final layer over top overlay color, and we're going to go back to that purplish color that we're using, somewhere around about there. Now I just want this to be a little bit over the entire character. Let's see if that works here. Because I introduced it into the skin, I want to make sure it's evident everywhere, at least a little bit. It doesn't have to be very impactful, but it needs to be present. I think I want to change the jewel. Let's actually make it more of a pink. I'm going to show you, too, how to adjust the color on that, but we'll do that after this is in place. Let's go and check the work Command D to Deselect and toggle on and off the colorization on this. Yeah, that's just a little bit more. It's not very noticeable, but it's there. I think it pulls it all together. That's another thing with the color is just really, when you introduce a color, it's going to bounce around. It's going to hit some of the other areas. It's important to try to think that way and bring it all together. I think that's what that does. We're good there. I want to show you how to change the color of that real quick. What we're going to do is actually do that right on the existing layer. Let's go to Multiply. We're going to first darken it in. Let's just take a blue. We got to wash out as much of that green. Then, we'll just come back with the same brush, same color, but we're going to do a glow dodge. It's really fun to mess around with these combined modes and see what you can come up with. These are really great for power effects. You can extend it, past this edging, and really get it to look like it's glowing on to the rest of the ax head. It's really neat that we can come up with this stuff. Then, while you're there, you can punch up a little bit more light source on different areas if you want. This is a great way to add in those tiny little highlights. You might want to see really pump up your light source. That's probably a little much. You can select from there, get a little bit on the arm here. Make this one arm just a little bit brighter. Again, I'm always trying to get certain areas to stand out a little bit more than others so that it's not all uniformed in the way that it's lit. Likewise, we can probably even take and put just a little bit more light on this one side of the chest. That's actually creating too much of a saturated hotspot. That's really it. You just play around with these different effects, see how far you want to take it, and experiment. That's always the key to invention. You just want to experiment and learn what you can about the way that you want to create. Then, one last thing I'll show you before we bring this to a close is a neat way to throw in a drop shadow. I always like to do this right at the very end. I'm going to duplicate this one more time, but this is actually just going to be for a shadow. I'm going to right-click here, go Combined Selected Layer. That gives me everything flattened onto one layer. Let's go to Edit, Tonal Correction, Hue Saturation. I think we can do it here and drop it all the way down. It gives us a grayscale. All the way down this way, it gives us just a black silhouette of our character, which is actually nice for presentation anyway to put this to the side of the painting. But for those particular instance, I want to take this, drop it behind here. I want to distort this to give us a cool drop shadow. Let's see. We're going to go to Free Transform and just drag that down. Make sure the feet line up, obviously. I'll generally place this and then go back and maybe touch it up with the G pen or something. If I need to fill in little areas, for instance, there probably wouldn't be a gap right here under the foot. I'll just fill that in and I might need to adjust it just to match the point in the toes here. It's pretty easy to do and it saves a bunch of time for creating your drop shadows. Then, you could take that drop shadow, bump back the opacity, get a nice little soft effect to it. Another thing that looks cool is you can erase it back on the top. As it gets away from the character, you can take a soft erase and just lightly push that back. Just little things like that and then probably adjust here, I think it looks a bit odd coming past the foot right there. Then, a few final things I would generally do, I always test the character again to darker background as I start to wrap it up. I'll drop in another layer here, fill that in, pump back the opacity there. I still want to see that drop shadow, but I do this just to check the contrast, I think. Then, also, I'll take the character one more time and merge a final copy. These are all the layers still, but I want just a character on their own layer to adjust the levels. I'll duplicate that, merge it again. Combined Selected Layer, that gives me, again, that character on their own layer with all the colors. I usually just call this Final, or probably, Ogre Final. I would do just a little bit of probably levels on the sole. Total Correction, Level Correction. I'll try to pull out a little bit more shadow, something like this. Now, keep in mind, I will create a copy as I go because I really want to check that work. Now that I've merged everything, I don't want to back myself into a corner, but this is generally how I will finalize stuff. Then, I'll put it all together as a nice presentation for the portfolio for the client, and then, save out the files. Hopefully, this has been informative for you and taught you how to fully draw and render out your own type of character like this. It's been my pleasure to teach this course and I hope you gained a lot from it. There'll be more on the way real soon. Keep drawing, keep having fun, and bye for now.