[FREE] Photoshop: Emulate Traditional Media in Your Linework | Jörn Meyer | Skillshare

[FREE] Photoshop: Emulate Traditional Media in Your Linework

Jörn Meyer, Illustrator & Digital Artist

[FREE] Photoshop: Emulate Traditional Media in Your Linework

Jörn Meyer, Illustrator & Digital Artist

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9 Lessons (26m)
    • 1. Intro

    • 2. Preparing Your Sketch

    • 3. Drawing From the Shoulder

    • 4. Shoot for the Moon

    • 5. Keeping Texture

    • 6. Ghosting

    • 7. Linework with the Path Tool

    • 8. Finishing your Linework

    • 9. Outro

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About This Class

What You'll Learn

One of Photoshop's most amazing features for creating digital drawings is the possibility to influence how your brush tool works.
This becomes particularly exciting when you use Photoshop to emulate traditional drawing media, like for example pencil, watercolor, ink or brush pen.

In this free and short class, I want to show you how you can use your standard brush tool to give your linework a more textured and nuanced look and how to make people swear that your lines were actually drawn on paper.

What You'll Need

Not that much, actually. If you want to replicate the work I do in this class exactly, you will need the "Megapack" from Kyle T. Webster. Kyle makes the most amazing brushes for emulating traditional media in Photoshop, and I highly recommend getting this pack. At the time of this writing, the Megapack costs $15.

If you don't want to spend that money on brushes right now, I can totally get that, in which case, a quick Google search will ensure that you start this class with traditional brushes that totally suit your style.


In the class project, you will find the "Layer Mask & Fill" Photoshop action I use in the class, as well as the sketch of the penguin I use as an example.

Meet Your Teacher

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Jörn Meyer

Illustrator & Digital Artist


Hi Skillshare people, my name is Joern, and I work as a freelance illustrator and artist!
I mostly draw fantasy and horror art and I noticed that my life has been vastly enriched by creating what I love, and I want to help you follow your passion too.

If you know my art, you probably know me for me work as a resident artist for the award-winning NoSleep podcast.

I live in Cologne, Germany, have a funny accent and love coffe, board games and heavy metal music.

My courses are designed to be short and concise lessons you can immediately use to improve your art!

If you have any questions concerning my courses or want to learn more about a certain topic, feel free to hit me up.

I look forward to learning with you. :)

See full profile

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1. Intro: Hi there. My name is John Hot Hot and I'm a digital artist and illustrator from Cologne, Germany. Welcome to my free class on emulating traditional media in your line work one of photo shops Most amazing features, which makes it such a powerful tool to use for creating art to computer is the variety of two presets and worships. You can use it for ever opened up the brush panel. You will see like 10,000 different ways. You can influence your style of drawing. You can change the brush size, the angle, letter spacing, spacing, the birth spacing, the former tip, the fluctuation of color just about everything you want. And it's especially fun if you use that to try to get Photoshopped to do a little bit more traditional work, for example and most of my work. I strive for realism and cool needs real looking art. But there are also climbs who prefer there are to be more cartoony and fund lightweight on . In that case, I have collected some brushes which helped me achieve this. I am more peut cartoony, kind of Look in this class. I want to show you how you can use brush presets that you can find on the Internet to give your Leinart and more textured and nuanced. Look, if you want to follow alone, I highly recommend you check out this guy. His name is Coyote Webster, and he makes a killing at making brush presets for photo shop for traditional media. Without a doubt, those are the best brushes for this purpose you can find on the Internet. And I'm not saying that because I get money from him or anything. It's just really fun to use them and work with them. Um, I use this mega pack, which at the time of this recording would cost you 15 bucks, which is not a lot considering what you get out of it. But if you don't want to spend the money right now, I can totally get that. And a quick Google search will set you off in a good direction to find some cool, freed rushes that you can use to follow along with this class in our class project. I want to encourage you to take some old drawings, have lying around and put them into photo shop and make some cool Leinart, on top of it and show it to the rest of the class. I'm really looking forward to seeing what you can come up with on. That's pretty much all there is to say before we get started. So I say Let's get right to it, see you in the class. 2. Preparing Your Sketch: hi and welcome to my sculpture class. Thank you so so much for enrolling. And I hope we have a lot of fun drawing together and doing some Leinart. For the sake of this lesson, let's assume your sketches already done and in photo shop. As you can see, I do it in photo shop, but it's just because I'm more used to the medium than I am with pencil and paper, actually, but if you are are more at home with a pencil, just go nuts. In that case, just scanned in and imported into Photoshopped. When you have your sketch in photo shop, the first thing you want to do to prepare it is to double click on the background layer. This opens up the new layer dialogue, and you can just confirm it with the okay button to transform it into a normal layer. Photo shop has some reasons why it's starting out with the background layer, but we don't need to concern ourselves, but that let's just double click it and confirm this impudent did it. The next thing I really like to do is to bring in a paper texture. I happen to have just some textures lying around in this forwarder I made specifically for this purpose. And I just picked one that I like today. And, uh, yeah, we'll drag it into Photoshopped. I can resize the picture by dragging on the little corners here and hope down the odd key and the shift key to transform it proportionally and then just play around with the debate until you like how it fields kind of like this. Maybe if you're looking for some nice textures you can use their couple of resource is you can check out online. Um, I specifically like textures dot com. You need a free account with the site, but apart from that, you condone load some really nice textures. Now direct your sketch layer on top off the new layer that was created for the paper texture and then changed the sketch layers blending mode to multiply. The blending mode takes every white pixel in your sketch layer and just doesn't display it anymore to finalize preparing your sketch for the final line work drawing. Just turn down the opacity a bit. This will come in handy in the next few steps when we draw on top of it 3. Drawing From the Shoulder: Okay, Now that you got your sketch all prepared and ready to go, I'm sure you're very eager to dive right into the picture and start outlining this little do it right here. You were noticed that had changed my foreground color to a bright red. This is because I really want the lines to stand out against the background. We can always change it to black later in the process. The brush presets I use for this lesson is called badass Brush Inker. And as I mentioned in the intro video, it's from the Kyle T. Webster Mega Pack also has mentioned earlier. There probably free alternatives to this brush out there on the Internet, but if you can afford it, I would really suggest you buy the MCA pack because it's amazing. The thing about those precious is if you're import them into photo shop, you can find them under two presets. Many of you have probably used to work with brush presets. Two presets and brush presets are pretty similar to one another with brush presets. If you save them, it really only saves the brush tip for not only there's also other parameters, but all by way of saying to presets tend to be more versatile just to give an example. If I change my flow and my blending mode and then select the baddest brush inker again, you will notice that my perimeters got changed. Now this bad s brush incur that has selected. Let's just take a nice big tip and make some brushstrokes. It's just amazing to look at. It might not look exactly like a real brush pen, but assuming on the picture and take a look at all those little texture center, including your drawing, this is this is work for after in this video, but still it this and then let's get started on the picture. Zoom in until you find level that you're comfortable with. And I like to rotate my canvas until it feels right, and I could use my arm because a mistake asi beginners make all the time. And to be quite frank, I make, too, is dry from the West. What I mean by that is making small and little emotions. I'm doing this run on purpose. You guys please stoned. Emulate this. The thing about drawing from the wrist or as it's sometimes called chicken scratching is that it seems like such a good idea at first, because you can control a tiny amount of motion at the time, and you don't need to make any big and scary motions. The bad thing about drawing from the wrist. ISS. If you zoom out just a little bit, you will immediately notice all those little imperfections. This isn't nice and smooth. This is amateur hour to lead it. When you're drawn, make sure to utilize your whole arm. This is called drawing from the Shoulder and just make one big motion. This isn't perfect. Control Z and try again that that's way better. You can see how it follows the curve of the arm of the penguin. It doesn't match it exactly, but that's not important with the overall composition off your picture. Also, it has a nice and smooth with him going. It tapers in at the beginning that it's not cried around here, which or happened to like and it carries the energy of the line with it, and that's nice to look at. I really do like this line afterwards. Just choose another line, maybe the beak. Adjust your brush size like IHS and remember to use your whole arm for motion. Not just your risk. Yep, looking. That's already 4. Shoot for the Moon: the next trick, I'm showing you. I call shooting for the Moon, which is just a fancy technology for something you probably experienced in your own drawings at one point or another. If you ever watched some old karate movies, there's always this one scene where the guy breaks of wooden board with his bare hand, this karate chop. If you really want to do this, you have to get in the mindset of hitting behind the board. Following through it's a change in your thinking. The same is true for the precision that is line work. If I draw a curvature like this one, it's very easy to get hung up about hitting the point at the end of the curvature like exactly this point and lose momentum. But since digital drawing gives you the under function, there's no need to be afraid to overextend your lines. Let's see if I can nail it. Uh, not, not quite. Let's undo this and nope. And nope, maybe you tried the other way around. There's no shame in doing this, by the way, just going back and forth and back and forth with the under function and your new line to really nail it exactly the way you want. You will notice that my line overextended the arm and cut into the cup. The penguin is holding, but that's a problem I can choose to. You raise a tool and get in there. There you go. It's like it never happened. Please don't hesitate to use the razor to to fix little mistakes in your lines and then go in with the brush tool again if necessary. But the razor comes with little drawback when it comes to Leinart, and we're going to talk about that in the next lesson. 5. Keeping Texture: for this lesson. Let's forget about the penguin for just a moment, making you layer. And let's assume we want to draw something with a really big brush tip. Let's bless you, my I want to draw the letter A something like disc. You will immediately notice all the cool afraid address that I have going on here, and it looks like a Rhea brush pen. I mean, are you really? But it's getting pretty close. Let's also assume I want to make this line here shorter and closer to the eight. So I take out my trusty race. It'll and just go to town here and you see what happens. I immediately lose the texture I had in this line. The line now looks flat and un interesting. What you can do to avoid this is hotel on the control key and click on the layer Aiken This select. Still, layers are for transparency, which is just a fancy way of saying select everything that is currently on this layer. So our pixels off this layers are selected, and everywhere there's transparency is not. Afterwards. Click on this button right here to make a new layer mosque and finally click back on the layer. Aiken, Go to add it and fill to fill it with the foreground color. A quick introduction if you're not used to working with layer mosques, everything that is black in the mosque doesn't get displayed in the actual layer. While everything that is in wide is and because the pixels were selected before I made a layer mask, everything that was currently on layer is still getting this plate. The good thing about lamb us is that they can be altered later. If I click on the layer mask icons, you see the briquettes going on here to indicate I'm currently drawing on the layer mask on and everything that I draw in black on the layer mosque gets not really raised but simply hidden from the layer. So now I can go back in with my brush, thin and frail, etch a little bit more here, maybe go back in and distress it a little bit to give it, um, or distorted look, which looks pretty cool. I actually created a little Photoshopped action that you can use to achieve the same result . It's called Lay a Mosque and Phil, and you can just click it and have the same result going on with your currently selected foreground color. So if you take a look in the project description, I have put in there a link which you can use to download this photo shop action. And there's also some instructions on how to install it. I hope you find it useful. 6. Ghosting: Okay, let's get back to our penguin for this lesson, which we will call ghosting, which is a pretty cool sounding name to describe something that is actually not that complicated. Let's say I want to do at the foot of the Penguin. So I go back in, I select my brush size. This is maybe a little bit too broad. This is too small, probably somewhere in between those two. Now, if you take a look out at the four, you will notice that it carries a certain energy. It's round here and then fought off round thoughts off. And what I'm doing here is actually already ghosting the process off repeating the motion without actually putting your stylists to your tablet. And what this does is I'm exaggerating here. Obviously, what this does is cement the motion in your muscle memory, get your brain thinking about this line before actually drawing it in a way that will make the final line much more perfect. I'm willing to bet that I will screw this up because I'm recording this. But here we go. Who? I didn't screw it up. Look at this line. It tapers in at the beginning you have to tapered and a little bit of half going on there. The curve. I really like it. Use this ghosting technique every time you approach a line that is difficult or challenging or you feel unsure about. Use it a lot and your drawings will improve tenfold. Let's try this again. One. Do do it. Yeah, and happy ghosting. 7. Linework with the Path Tool: for this next lesson. I want to take a look at the most difficult line off this sketch, which is the outline off the body. This line goes almost all the way around the body off the penguin, and it's essential to defining its form. When I was sketching, the farm almost looked like a bowling pin with a bent in the middle. All my way of saying, This is a pretty hard line to nail exactly right. And to be honest, I would probably chicken scratch a long part of it if I didn't know a better way. What you want to do is select the path tool and then click on the point where you want your lying to begin. Right here. We're teacher canvas to a point where it feels relaxed and comfortable to you, and then just begin following the outline with the A path. If you never made any busy curves in photo shop or any other to this process might seem a little bit alien to you. If you never use vectors, I'm explaining it would be a little bit much for the scope of this class, but if you click on the path tour and just go nuts for a while. You'll get the hang of it pretty quickly. I have to be pretty careful here. The hat is a little bit difficult, but im ah willing to take that effort. And before you know what, you have a nice form going minus Not absolutely perfect. There some lines here that I don't like exactly. But I'm sure you can do even better. Next. You wanna take the brush tool again and select an appropriate brush size this one will do. You raise the line again and then go to the puff menu. You see the working path just created over the form of the penguin and you want to click this button right here. There we go. Now, this looks kind of shady because it has the exact same with on the entirety of the line. By the way, this over exaggerates every mistake you made in the curve. The look of this land is super sterile and a natural, and it immediately registers as not human drawn. And especially if you're emulating traditional media, you want some variation to your line, right? Click on the path and select stroke path. This will do the same thing as clicking the button, but gives you the option off simulating pressure boots. And now you see a pretty poor rendition of someone actually drawing the line. You see, it just created this curve and left this curve out. Um, because it basically reduced the pressure to zero. So it didn't have, like, color, but it gives me a pretty steady basis to work on. No, I haven't. Okay, line that I can connect to the rest of the body. If you used to stop path, function in your line work, be aware of its limitations and also be prepared to lay on hands afterwards in order to make your lines look more human and not drawn by robot. 8. Finishing your Linework: Okay, guys, does all I have to teach you about emulating traditional media in your Leinart? I really hope you had fun. And I also really, really hope you participate in the class project because it would just warm my heart. So for this last video, there's nothing left to do but to complete the line work. Let's go. And there we go. All done. I'm sure it's not perfect, but I happen to really, really like how it looks. The last thing to do is select a black foreground color and just color in the whole layer. And there we go. The very last thing you really need to do is go back in and making need little signature right about here. Because writing with the brush man is insanely fun. And there we go. All done. I hope you like the little penguin guy. And I hope you enjoy this class. Bye bye. 9. Outro: and that's it. That was my free and shrimp. That's my free in short class on emulating traditional media in your line working photo shop. I really hope you had a blast watching the video, and I hope even more that you participate in the class project. As I said earlier, just take any old sketches lying around. It doesn't have to be anything special. Cool. In fact, I will just take some old sketch I have lying around and doing Need line work on top of it so you don't feel left out or anything. And it would make me very happy if you share your work with the class and with me, because I really want to see, I really, really, really want to see if you want to get in contact with my contact information on my homepage . Urine hide dot com. You can reach me on Twitter on at the height. Hot there are. You couldn't just drop a line on sketcher just wide something in the project, Or even better, do the class put. It would be a lot of, um, I hope to see you in my next video on until them take care bye bye and keep drawing