From Traditional to Digital Drawing | Joe Ghalbouni | Skillshare
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11 Lessons (1h 36m)
    • 1. Course Introduction

    • 2. 1 - Scanning

    • 3. 2 - Creating a new Artboard

    • 4. 3 - Lineart Creation

    • 5. 4 - Lineart Optimization

    • 6. 5 - Coloring

    • 7. 6 - Shadows

    • 8. 7 - Highlights

    • 9. 8 - Fancy Background

    • 10. 9 - Exporting

    • 11. 10 - Drawing From Scratch

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About This Class

Learn how to transition from the pencil and paper to the world of digital graphics

Through this course you will learn how to transition step by step from the traditional way of drawing to the digital one. You will go through the following sections:

  1. Phase I - First Transition (Scanning your drawings, creating a digital artboard)

  2. Phase II - The Lineart (Creating and optimizing a digital Lineart)

  3. Phase III - Coloring (Adding the solid color foundation to the drawing)

  4. Phase IV - Shadows and Highlights (Adding shadows and highlights components to the drawing)

  5. Phase V - Fancy Background (Create an abstract background from scratch for your drawing)

  6. Phase VI - Exporting (Export your drawing as a highly resoluted image)

  7. Bonus - Draw Digitally from the start (Create a digital draft/sketch)

  8. Assignment (Create your very first digital drawings)

The concept of LWP is to allow students to be operational as quickly as possible, while at the same time learning tools they have never previously used. We believe that it's by using a tool that you learn what it exactly does and not by simply describing its purpose.

Through this tutorial you will learn for example how to manipulate the pen tool on Adobe Illustrator, and the brush tool on Adobe Photoshop.

Meet Your Teacher

Teacher Profile Image

Joe Ghalbouni

I aim to teach in a fun and useful way!


"LearningWhilePracticing" has one of the most practical approaches when it comes to learning. Our goal is to let you be operational as quickly as possible while at the same grasping all the concepts required. Being able to work on your projects through a software while learning it at the same time, is a source of motivation that will make you go further.

Concept: Our concept is to provide for each software, a bunch of "how to do" videos, answering the most frequently searched terms. Because of how dynamic technology is, more and more videos will be added up gradually. For some software, we even opted for a full coverage.


Exercise Files: For each video, exercise files are provided in the ressources section. That way, you will be able to work on the exact same ... See full profile

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1. Course Introduction: There are five main reasons why you might up to go from traditional drawing to digital drawing first, being sparing the drawing from degrading. As we know, pieces of paper degrade with time, and so will the throwing. Second, you will be able to save a digital copy off your drumming that you can store in several different media's or on a cloud, or that you can share also with friends. Three. To avoid the excessive use off papers for the environment. For to enjoy the diversity of the digital tools available to you, which can make your drawing even more perfect than on a paper. And finally, to be able to work on a drawing on a do Rita process. So it, instead off really ripping the paper and starting the drawing over. You can really seem to remove the parts that don't like, and you can then redo them later on for another day, or when you feel you really know where you're going. So instead off really starting over. So through this tutorial, I'm gonna teach you how to do a partial and a full transition to digital partial meaning that you've already don your scratch drawing on a piece of paper and you will scan it and then digitalize it and a full transition in the last video where I show you how to draw the draft on the digital tablet on through the software which you will be able to use later on to redo the line art the coloring, the shadowing on the highlight, as seen in the tutorial. So if you really want to learn how to go from traditional to digital drawing, this tutorial is for you. 2. 1 - Scanning: The first thing we have to do in order to digitalize our traditional drawings is to scan them in the folder that I have provided you. We have three examples. The first example has clearly Bean scanned with a professional scanner so you can see all the details, the pencils, the marks. Everything is, well, scan, however. Nothing forbids you to scan with a smartphone. You think scanning software and by coloring dark and white option. So as you can see now the line, the lines are clearly then imitated, which will make our work much easier here as well. It's scan using a cell phone, so here don't mind this black region because that there's actually nothing drone on it, so that's not a big deal. What matters is really working on the drawing itself. So whether you have a cell phone or you have the option off a scanner at home, you can use any of thes in order to scan your drawing. It does not matter, because when we're gonna digitalize it, we will choose any resolution we want. So don't worry about the resolution off the scanning itself, but, however, make sure you have a pretty decent quality in order for you not to find any trouble while trying to scan your drawing 3. 2 - Creating a new Artboard: once the scanning process has been done, we need to use software in order to digitalize our drawings. But keep in mind that the software is not automatic. It will just help us by using the proper tools to digitalize our drawing and basically to redraw it. But don't worry. Redrawing over the lines and feeling with the colors, shadows and highlights does not need any special tablet or anything. You can work everything with your mouth and keeper, so the best software I advise you to uses Adobe Illustrator Off course. There are equivalents such as Escape, which is free Andi, which is also Victoria, just like Adobe Illustrator. But I don't really adviser to use, for example, for a shop because it uses pixels. It's not a pictorial software, which means you will be limited by the initial resolution off your scanning device. So what I suggest for you to do is use a pictorial softer. So once we have Adobe Illustrator Open will go to file new, and we will define the new art board into which you are going to reproduce the drawing. So for the sake of this example, I'm using an art bored with the width off 2000 pixels on the height off 1500 fixes. So a landscape orientation. It could also be a portrait where these two are gonna be introvert. Now, keep in mind that you can use any resolution you want. You could even have something square. You could have anything that you want. But keep in mind that the height under with must be at least 1000 vixens for you to work with the line arts pretty easily because otherwise the lines that you are gonna be using will have to be extremely thin because they will appear to think compared to the drawing. So what I advise you to do, especially for these fights that I have provided you, is to use dimensions with at least 1000 pixels in the variables right here. So I'm gonna go with these settings and I'm gonna go to create here. As you can see, I now have my art board like this. OK, so this is my first layer. So this is the windows off layers. It's just like for a shop, actually. So if you're not familiar, a layer will allow me to work one layer at a time. So instead of having everything on the same sheet, it's like having several sheets one over another. And it's gonna be great when I'm gonna be using the coloring and shadowing as well as highlight options, or shall I say reproduction, which will allow me to not overstep the line art any further because it will be on the top off all off them. So once I have my line art right here, keep in mind that this is not a white art board, since if you go to a window and you show the transparency great in view. Sorry. So you go to view and you show the transparency grid, you can see that it's all transparent. So if I need to export my drawing as a PNG file, it will be completely transparent. Off course. I could choose an option to fill it white toe to fill it black. But in our case, we do not need to do that right now. We do not to worry about that right now. No need to worry, But the reason I am strongly insisting on the fact that this is transparent is because if there is anything white in the background and there's anything white in the drawing, You might think that you have already filled this space. Meanwhile, you should keep in mind. It's still transparent. So once we have this, we're going to go now to fight open, and we are going to choose our first drawing. So once I have my first drawing right here, it has opened in a different fine. So I'm gonna select it. I'm gonna go to edit God right here, right? Click or edit and paste. Okay. So once I have it like this, I'm going to drag and drop it until it's perfectly at the corner. And then I'm gonna maintain the shift key on my keyboard, and I'm going to drag this in order for it to conserve its proportions on. I'm going to drag it until I see the intersection and I'm going to release it. Then I'm gonna drag and drop it to the right until I read the Intersect option, which tells me it's now perfectly in the middle. As for this one, I'm going to close it without saving anything. Now that I have my initial drawing right here, I will be able to start working 4. 3 - Lineart Creation: Now, what I would have to do is reproduce first off all the lines, okay or what we call a line art. So I'm gonna first save this file. I'm going to save it as exempting one here. I'm going to keep these settings as they are, and I'm gonna rename this layer background throwing. I'm going to lock it so that nothing is added to it. And I'm going to define a new layer over it, which I'm gonna rename lying art. So I'm renaming by simply double clicking on the name that I have right here. So now I'm going to go and select the pen tool right here. I'm gonna choose. No, Phil, I don't want any feeling. I'm going to choose a registration or black for the stroke, meaning the lines. And I'm going to select a stroke off three point and I'm going to start working so you can use the mouse to scroll in on our and out while maintaining the all key on your keyboard that allows you to zoom in and out pretty quickly. So I'm going to start with the neck. I'm going to simply click right here, and as you see now I have this segment right here, which allows me to select where I want to continue. So now I'm gonna click here and maintain the left click health. And if I move the cursor now around, I have a certain curve that I can optimize, so I'm gonna optimize my curve. It's something that you might find difficult to use at first because it needs some practice that you're going to see. You're gonna get used to it pretty quickly. So once I have the curvature that I want, I simply release the left click bottom. And here you go. You have your first life. Now, if I want to continue, I can continue from here. But if I want to define a new line and I don't want any continuation, I'm simply gonna click be again so that now Adobe knows I want to use a new segment. So I'm going to go from here. I'm going to do a small curvature like this. And now let's suppose that this curvature is not what I want. The continuities, not what I want. I'm simply gonna hold the Al Turkey and I'm on Click on the anchor, which is the last point off the segment. On that way, I'm free to determine my new segment on my own. I'm going to continue here with the neck right here. And there we go. So I'm gonna go now with the chest from here till here, I'm going to do thistle segment. And here, you see, it's not what I want. So I'm going to do the same thing, Ault, and click on the anchor on then like this. So now the chest is whether the fight now I want to continue from here to here. I have to pay attention, not to click on the path itself, but really just near it. Otherwise it will. I think there's a continuation on this path, which is not what I want. So now if I feel that there's a gap, I can simply hit the A key on my keyboard in order to have the direct selection tool. I select this like like here, and by paying attention on going on the anchor point itself, I can simply hold the left click and drop it here in order to draw continuity off the segment. Now I'm going to continue with the closing. I could go on the path if I want. Kate does not matter, but I prefer not to have any intersection so far. It might goals a bit off confusion for the software. And here we go. This is the example here. Then I'm gonna go right here. Andi, continue. So you see, the great thing about the pen to is that it's moving things out. If you have a tablet, you could be using a brush and working the line arts again. And we're going to see this example while working with the other drawings. But the lines what? The lines with actually smooth there themselves a bit. Because since it's a pictorial software, it tends to calculate the function behind these lines, the mathematical function behind these lines and therefore smoothing everything out, which is actually something you do not have in for a shop. If you're using usual brush, you do have it in the mental, but not in the brush themselves. But keep in mind that despite having them in the brush tool, you won't be able to obtain something Victoria will in the end. So if I hide this layer right here, this is what I have so far. Okay, if I really want to see with a white background, I can once again hide transparency grid. And that's what they have with a white background so far. So I'm going to continue my work right here. I already have almost all this part carried out. I'm going to continue here with Go Hans outfit. So sometimes you could modify a bit what you've been doing on your traditional drawing in case there is something you don't really like. So you see, here I have clicked on the line. It has created a new point and no continuities. So I'm gonna hit control C. In order to cancel that on, I'm going to click near it. So you see, that's why I don't want you to click on a path that you don't need any more just so that it does not disturb it. Here we go, then. From here. Here. You see, I don't have a continue to, so I'm going to do it myself. I guess if you're someone into drawing, could already guess that was gonna happen. So that's not really a big deal. And here I'm gonna continue a bit by adding a segment. Now I'm going to start working on the face. So I'm going to start here with Joe gonna add the curve right here. So now you know exactly what I'm doing. So you can work with me this example step by step and the idea behind working on digital drawings on digital izing everything is that it's going to make it easy for you. First of all, to save your drawings in a digital way outside off scanning. It will help you import them in any photo composition you have without worrying about any background. You can change a lot off stuff a lot off the shape. It's gonna be easy to work on animation, for example, later on, because you simply have to change a few off the features. So it really has a lot, a lot off advantages. Okay, It's really good thing to learn about digital izing everything. Of course you lose somehow the charm off the traditional drawing itself. There's a lot off charming traditional drawing. I do agree with that point, however, I believe that the word off digital art also has a lot off its own advantages. So once I done with the face. I'm gonna do the insight off the ear. Okay, there we go. The inside of the ear is now done. So you see, my drawing is starting to really come to life mouth. Now, here I have some blood marks where you can see them with the pencil. But since I've done that drawing, so I know exactly what's going on, but I'm going to do is do them right here. And then I'm gonna change their color later on. Okay? So that can still be part off the line, art, because I do not intend to add any shadows on them. Okay. And it's gonna be the same for here. I do not intend to add any shadows on them. So Thus it does not matter if I make them part of the Leinart and change their color later on, when I'm doing the perfection off the line, Art. So for the hair, I'm simply going through one like this then, but at the hair spikes. Okay, I can see how this strong is coming to life. So basically, as for technicalities, I'm not doing anything complicated. Okay? The drawing has already been done. It's like? Like it's not like I'm drawing everything again from scratch here. I'm changing. Been the curvature because I'm considering that in traditional art, you also have some imperfections. Okay, so you see, I'm making sure that I'm at the intersection right here. Okay? You can see tells me here that I'm at the edge. So that's the great thing about Adobe Illustrator. It really helps me know where I am at each moment. Or should I say at each position. So here I'm working on the lines to the limit, the inside of the hair, and I'm gonna pay attention to use the different sighs. Okay, so here, since we're working together, you can do everything I'm doing so far and look what we have. So we're starting to really have something quite beautiful now for the bruises. Usually they remain in the dark pink sometimes or if I really want to show blood, I could make some dark stains. But as for these, they can remain in black. - Great thing about the Children thing is when you do the coloring, you can later on change it without any problems. So for the I, you see, I made a closed one because I do not want later on any shadows or highlight to come within the eye. So I'm making everything within the I as a closed shade. So that way I can color it within the line art in the optimization stage without worrying off anything coming inside the color since the Leinart is gonna be the highest layer within my composition. So everything that is under the Leinart will not cover the colors within the line Art layer itself. That's the beauty off. Working with layers, actually. So now I'm gonna work on the nose for this one. I do not want to close it on the 1st 1 I just wanted, like this. This is the limitation off the eyes here. I also have some bruises, - then the line within the hair. I'm gonna change it a bit so that it looks with that better like this. Okay, so it's actually better. That's the way I prefer it to be now for the eyebrows. I'm also gonna do a closed shape, so I'm gonna close from where I started, and I still have the last eyebrow divided in a couple of shapes. So, you see, I really have this angry look. And here we go. Now my line art is complete. Okay? If I look at it with the white background, look how beautiful it is. It's completely pictorial. So if I zoom in and out, I don't see any pixels so far. Okay? Not any pixel. I can optimize this debate, for example, by clicking by kicking the A bottom the a key on my keyboard on by dragging these a bit like this in order to avoid too much overlapping. Okay. And this is what I have so far. So I'm gonna hit the safe option, and now we're going to see how to optimize this layer together. 5. 4 - Lineart Optimization: So now I'm gonna be working on the optimization off my line art, which is divided into three components. First of all, there are some shapes that I can already fill without any problem, so that they can start feeling right away. These shapes can be filled with colors, since I know that nothing will overlap them. It's not like I need to add any shadows or highlights. So you're going to see which ones I mean. Then you have to take care about the size is not. Everything can be the same size. So we're going to see which things can be changed in size. And lastly, we're going to see how we can change from a uniform stroke. Two more like a with profile like this, which will give it really an aspect as if it was drawn in the ink like a manga drawing or a comics drawing. Okay, so first of all, I'm gonna go to here. I'm gonna make sure the V key is selected on my keyboard. So I pushed the wiki oppressed the fee key on my keyboard. Now I'm going to start with this and shift this to have these two selected which are the inside off the I on which will be black like this. Then I have the white part here in the eye, which will be white because, as you can see, for now, it's transparent. Okay, So if I Hi, transparency or sure, the transparency. Great. This is what I have. Okay, so let's keep working in the transparent thing to make sure everything that we need has been filled with appropriate color. So these two shall be white and nothing will come in between. So that's why I can fill them already in the Leinart. Then we have the I sort. Since gone isn't the Super Saints, they need to be green. Now, if this green is a big too strong, I can simply create from their new Swatch, okay? And selecting the CME, White came old. I can play with this option, but I'm not gonna do that first because unfortunately, if I do that and I need to change the black, here's what's gonna happen since I'm in the RGB both for my fight. If I said like that black and I feel it's too much and I publicly called my new color Look what happens and become a bit difficult to go back to the initial one where I waas So, for example, if I go all the way here, I'm not gonna even retrieve the same green that I have. So I'm gonna control the several times and get back to here and in the at it okay or in the file, I'm going to go to document color mode and I'm gonna choose cm Waikiki now that they have the c m y que option, I can go now and create a new color since I'm in the c m y que I'm able now to, for example, strengthened a bit on between the green and the blue. And I have a new color right here, which is actually what I want. Okay, so this is the color that I want now The difference between the C M y Que and the RGB color bold is that the RGB is more for screen to see. M i K is more for printers. So if you need to print this drawing, make sure to be working in the c. M. Y came old. Whereas if you need it for different screens, make sure to working in the RGB molt. And in case you needed for both, you can simply create two different copies and managed the colors later on. So now that we have these filled, I'm going to fill the eyebrows because I also do not want any additional color over them. Since go on is in the Super Saints. They need to be bright yellow like this. OK, so this is the color here that I'm choosing. So in case you want to know, what's the code behind? These colors were simply double click, and it tells you the percentage off science magenta, yellow and black that you need to give through these cars. I really prefer working in the CME like a car a boat, because I am actually more used to with I find it simple now for the blood that I have right here for these blood stains. Okay, I'm gonna change the stroke color. I'm gonna go with a bright red like this, okay? For the blood and same thing for this bruise here. I'm going to go with a bright red color. Now it's time to optimize the size because there's nothing else I want to feel without any overlap. So for the size, I'm going to go right here with these marks, the underneath marks. And instead of having a two point, I'm going to go with the one point off damage. And I'm gonna choose for these on these dimensions off thing with the dimension to give a different aspect. So you see the different now the difference now that I have. So this is for the rules and for the hair. I'm gonna make sure that all my lines inside the hair and at one point off diamonds so that gives a more beautiful effect to the hair, as you can see right here. So I'm gonna go now on hyper transparency grip so you can start seeing what I have thus far and forget this one as well. Let's keep it us one that you can see you feel the drawing is a bit too much computerized, right? And let's also not forget these. I'm gonna start between alternating and between next to each other. So it's really up to you. I mean, it's a personal choice. To be honest, you don't really have to do exactly what I'm doing. But if you do like this, you're gonna have some pretty good results. But it's really up to you to choose. So once I have these, I'm gonna hit now control and a to make sure everything has been selected The Leinart. And here I'm gonna choose this with profile. And now if you look at the drawing, there's a huge, huge, huge, huge difference. Okay? It's completely different from what it waas. As you can see, if I hit control C, I had something very computerized. But if I hit now the reduce stroke option by clicking the shift control Z Look, I have something which is much better. So now my Leinart has bean very, very well optimized. Now here. Since I have something close, I'm going to fill it with a red color right here to fill the blood stain that I have. Okay, now I'm gonna go hit safe, and I'm going to see you in the next video for the color ink 6. 5 - Coloring: Now it's time to color our drawing. So in order for us to do that, we are first gonna lock the line arc layer. We're going to create a new layer right here. We are gonna drag and drop it underneath the line, art, because we want our color to be underneath the lines who are gonna double click and name it color. Now we have to select the colors that we need for the hair, which are gonna be the same color as the eyebrows. We already have it. So that's no big deal for the G. That go on is where we're gonna be using this color and for the skin tone, we are going to go here to the library and in skin tones. We have the selection going from the highlight till the shadows. Now, since in the enemy they have a pretty pinkish stone off color, we're going choose this one skin tone three, and by simply clicking on it. Look, I now have it in my swatches, so I'm also gonna define a new color group, which are I'm gonna name accessories and I'm going to drag and drop this one right here. You know there for me to have it at all times, and I'm gonna drag and drop for here. So which are the two additional cars I need beside the skin tone? So now I'm going to choose this color right here, okay? Or I'm gonna choose the lightest one. Because once I'm gonna work with the highlight, I'm going to be working with the white color, which will be the reflection off lights. I make sure that no stroke this time is selected, so I'm really doing the inverse I'm having to fill in and no stroke. I'm gonna use the pen to once again. And now I'm gonna be working all my way on the skin. Daughter, I'm going to start with this part, which is pretty small. So you see, now I have a big problem. I cannot. So you see, I have a bit of problem. I cannot really click on the part that I want. And this is due to the fact that I have a snap to pixel options selected. So I'm simply gonna dick click this one so that I can be anywhere I want on the drawing, just as I did for the line art. I'm gonna make sure this time that my path is as much as possible in the middle off the line art so that it does not go out of the line and at the same time, it stays within the line without having any white fill in. So this is a process that takes some time in order to have the best result. So really, don't rush it, OK? Don't rush it. Take your time. You could be working with curvature, or you could even be working with a small lines like this to go faster. Okay? It's really up to you to optimize it. With the mental, you can do almost anything. So now, as you can see, I have a little problem. It's that my line art is not at the edge, so that's not a big deal. I'm simply going to continue my drawing like this until the intersection. I'm gonna lock this one, get back to the Leinart, hit the a key, then take the anchor and drag and drop it. But looks What? Look what happens? I lose here. The curvature. I had no worries. I'm gonna use the pen tool. I'm gonna press on the anchor, which will make Adobe illustrator understand that now I'm continuing this line, art until I reach this. So now you see, Now it's complete. I'm gonna lock the line art again. Unlock the color click on it. Used the V key on my keyboard and click here in order to retrieve the coloring I had. So I've been doing my first skin tone right to you. I'm gonna be working on this one. But first, let me switch back to the transparency grid to make sure I'm coloring everything without missing anything. So I'm gonna start with the neck, so it's OK. There is a bit sometimes a bit off space. Okay, you could be some more. Someone who's really began do not want any space at all. But you could also live a bit off space. It's really something up to you. Okay? It's not like I'm doing a fill in where I needed perfectly close. Since I'm working on the color layer Separate e here, I'm continuing what? I have really working along the lines. So if you do any mistake, you can re corrected by clicking the a key on the keyboard, repressing the a key and dragging and dropping the anchor point. So it's made off several anchor points And you can you have the versatility to really even arranged one single anchor board. So that's the power off this software. I mean, really, when it comes to illustration, I firmly believe that Adobe illustrator has everything to offer. So here I have the same problem. So I'm gonna do what I previously did. Gonna hit the anchor right here, and I'm gonna continue. Make sure everything is well selected. Now I'm going to continue the coloring and I'm gonna do the same thing. Ben Tool, click on the anchor right here and continue. So if I want to have a perfect line against implementing the shift key and now I'm perfectly aligned with the intersection. So that helps me save a lot off time when I know that I'm at the border off my art port. So again I can hit control Z whenever I feel that one off my Ben path is not the way I wanted to be. So here. You see, I'm done with the chest and now done with the neck. No, I'm gonna go over the face. And now you will see that everything that has been colorized in the line art is not gonna be covered anymore. Okay, So whether it is this blood stain on the mouth or whether it will be now the eyes and the eyebrows So you see, they are not being covered because my layer is underneath the Leinart and these fill ins right here belong to the line art layer. So that's why I told you to optimize your line are layer first before going any further with the coloring. And here I continue like this. The good thing is that it also tells me if I'm on the bath, okay, When there's a path here text that appears, it tells me I am working on the bath. So it's a good thing if I need to be working with zoom out. So the great thing here, I can do this and this and continue, Or I can simply do it like this. It does not matter as long as these are already covering the skin tone part. So I'm almost done with the face. So I'm going maybe a bit pretty quick, because it's something I've been doing for several years, but you could simply post the video in order for you to work in a slower space. You can, for example, see the fight, and then you can decide whether you want to work it back freely. You really have the choice that you need can work at your own time. We do not have to finish this in one take. Okay, you could be working part off the line art one day, part of the Leinart another day color next week. That's really the great thing about it. And also a positive point with digital drawings is that you do not have to worry about your paper changing color or feeling the quality off your drawing has decreased. It's a copy to remain as it is forever. So no problem off degradation. Now I still have this part to color for the skin tone. No, it does not matter if my Leinart has been a bit over the art board, because when I'm gonna do the export, I'm going to select the our port that need exporting. Keep in mind that, and you will see that in the export options. No need to select the airport But I doing for I'm simply gonna be doing it for the sick off , conserving the proportions off my drawing that I have initially chosen. And here we go. We're done for the skin tone. So we are gonna save our work. And now we're gonna be working on the uniform we're going to select this time. This color. These are the CME, like a colds if you want them in our cheapie. Here they are, in case you deceptive decide to work in RGB. Now, I'm gonna show you a simple trick I'm gonna be doing. I'm simply gonna be working on the delimitation right here and then right here and afterwards. I won't be needing to take care of them because I'm gonna tell my file that the skin toned is over the magenta color. So we're gonna see this is a really great option to save plenty of time. But first that miracle into the limitations on the extremities. And now I'm simply gonna be very, very quickly working thes enclosing my path. And now that they have this, I'm gonna press the V key on my keyboard, pressed this right here, right Click it and in the range I'm gonna say send backward and send backward once more so that it's backward off old the layers that I have So I still have this one here, so I'm gonna send backward once more. And here we go Now I have my uniform covering the skin. But the colors of the uniforms are not overlapping those off the skin. So this is a great option. In order to save a lot of time, I'm going to do the very same here. So keep in mind that Adobe Illustrator remembers the orders off the layers. So if you had three previously layers drone, you need to send this to the back three times or you can say send it all the way to the back, and that way it will be the last layer in the colors. So that's great, that within the same layer, you have a superposition off colors that it's possible to achieve. It's not like there's emerge, and I really love that because it helps me save a lot of time, which is something you do not have in traditional drawing so long. Gonna right click on in a range I'm gonna say Send to back, and here we go. I'm done with the uniform in very simple clicks. I'm also gonna do the same trick with the hair. No, for the hair. Keep in mind. I need to pay attention to the external, the limitations. - So working on the hair as well, She's So you see, I'm really starting to have something colorful and beautiful. I'm gonna shift, maintain the shift key and click here in order to draw the whole line. I'm also not gonna worry about the limitation between the hair color on the skin tone for the simple reason that I'm simply gonna close this on. Then I'm gonna press the wiki on in the range. I'm going to say send to back and here's what I have. Okay, so thus far, I have all the colors in my drawing. So now I'm gonna hit safe. I have all these colors right here, carried out, and I'm ready to work on the shadows 7. 6 - Shadows: so before starting to work on the shadows, I really need a bit off a light study to see where the light source is gonna be. So in this drawing, I personally feel that the most appropriate light source should be coming from here. So all the light recovers will be on these extremity and all the shadows on this part, and you're going to see that the shadows and the highlights are going to really give that kind off a three d effect or that kind off breaking from to the point of you like seeing that there's a surface in my drawing like there's a lease, the clothing, all the hair that it's really something not flat get to lose the flat side off the trolling . So I'm gonna look the color drooling. First, I'm gonna create one that is between the color and the line Arth double click and rename it shadows OK, and I'm gonna double click next to the name and choose a color which is pretty light so that when I'm working with a mental, I can see compared to the black line art where I am because using the dark color, it's gonna be a bit difficult to see the lines when I'm working with the pen to. And now I need to define the color. So for the skin tone, I already have several cars right here. I'm gonna choose the darkest one. Okay, I'm going to start with the skin. Don't. I'm gonna choose the darkest color, and I'm gonna start right here. So off course, I make sure I have no stroke selected whatsoever. I'm gonna start with here, and I'm gonna drag and drop something along really? Along the lines, the emission line art lines so that I can give this continuities effect. And all the way here, Joe thin. I continue my way up until I hit this one. Right. You I'm gonna go like this. So regarding the shadows, it needs a bit of technicality. If you're not familiar with drawing at all, you might find this pretty complicated. But if you're someone who draws a lot, we're gonna feel that this really is a piece of cake. You basically just have to imagine how the light would be hitting your drawing if it was in three D. So I pay attention to read to remain within the line arts. Okay? No. So you see, we're starting to see something, right? You're really starting to see something beautiful. We're starting to see that effect that we now have in any May that computerized look, computerized throwing look, which is off the highest quality off course in these studios, you have several people working, not just one person. So if you need to recreate some frame for frame and do the line arts for everything, it will go much faster when there's a whole team working on. Here we go. So you see, already have a beautiful aspect here on the face. You have all the different lines, the respect with the lines, which really makes you feel like there's something that goes outside off flatten surface. So I'm also gonna do the same here for the torso. So I'm gonna follow along the line off this source right here by modifying a bit because I also intend to give the torso three d effect, which helps me enhance the muscles, especially in this trunk. Okay, We have muscular character, so we need to put a whole lot off emphasis on the muscles. I could even add something right here. You know, to make it even more perfect. I can really go along the same line as the line art, give the whole beautiful effect right to you. Here we go. Then. I'm gonna consider that light when hitting this arm is only covering part of it and not all of it. So I only work on shadows on part off that arm. Of course, here, in that case, I'm only working with one tone off shadows. But you could be working with two tones of shadows which would make the drawing even more beautiful on it will take actually look more off time, but the results will really be worth it. So now, regarding the nose, I make sure that everything under the nose is shadowed like this. Okay, To have this beautiful aspect, I make sure to add big off shadows here to put an emphasis, just as they do in any me and as well as here. Really? Just a bit under 30. I mark really just a bit. Okay. Not a lot. I'm gonna put some right here, just along the very same lines. Okay, give three the effect, So if I'm not happy with the curvature. I can simply hit the A key on, then play with the anchor of it to have what I want. Okay? And for here, I'm going. I'm not gonna add any shadow for that arm because I'm gonna be working it with the Leinart , however, here, to put a bit of emphasis on the muscularity off the chest. I'm going to be adding a bit off shallowing, and now I can see that I have some lack of continuity in the Leinart on. I'm going to correct that right away once I finish this shadowing part. So now I go back to Leinart, hit a but then the pen tool and here we go. So now it's covered on I get back to the shadowing option I want, So I just want to correct this bid. I wanted to be a bit looking a bit more realistic. Here we go. OK, I could even decrease this bit like like here. Okay, to have something looking more real. Actually, it could even decrease it. Really To hear treaty, then a matter off act immunization. OK, how optimized these shadows. But if I'm not happy with it, that's all just like I am speaking to Cancel it on, redraw a new one from here, which I believe is more appropriate. It's really a matter of taste at that point. Not everyone draws the shadows the same. And here we go. Okay, I'm pretty satisfied with the way it now looks. Now I have to take care off the uniforms and the hair. Now, I do not have any shadow swatch for the here and the uniforms, but it does not matter. I'm simply gonna create them. So I click on the uniform color use watch on in the C m y que option. I'm simply going to emphasize the dark in order to create my dark shadows. So now it has already been selected from here. I'm gonna go along with the clothing in order to give that clothing layer effect. And no, I'm gonna go along this line. I'm going to go over the skin. Don't because I'm then simply gonna be doing the same thing I've done with the color. Which means sending into the back off course. I fall over the line, art. So you see why I've been using light colors with I can't see my path over the black line heart. So that's why I need light color In order for me to see it over the black line. Art No, they have this. I'm gonna press the wiki, click it to have it selected and the range of descended to the back. So here is the part that has bean shadowed. I'm not gonna add any shadow on here because I'm gonna be working on the lighting on the highlight section with what remains is the hair. So for the hair, I'm going to click on the hair color and same thing I did. I'm going to emphasize on the black in a new swatch, and then I'm gonna be able to work on my black car. So what I'm gonna do is starting from here. Actually, I'm going to go along the inside off the hair lines and I'm gonna decide to do the whole shadowed area for the hair right here. So at this point, I also have to be working along the line arts, So let me correct this first. Okay, so it just controls he this one. Andi, recreate slowly. My path. I don't want any bad overlap, so really? The control z is your friend in adobe. Illustrator loves you to avoid all the bad mistakes. Make sure you do not wait a lot before using the control z do not accumulate the mistakes until the point of no return. - I'm also gonna go over the shuttled area and then sending this to the back. So now I have the first shadow area off the hair. But I'm not quite some, but I'm not quite done because there is this sport that I also want to shadow. Here we go and as well as this part right here. So I'm gonna consider that light comes in here light in this dark and the one behind it to put an emphasis that this is actually behind the light source. So no need to continue the line art from here, I can simply continued with the shadows. So it's not something you could easily guess. It's something that comes with practice. Okay, Sometimes the lines do not have to go all the way with the shadows, - and here we go. So I'm pretty happy with all this shadowing effect that I have so far. Okay, I think it looks pretty good. So if I remove the shadow, look where I waas decor. I am right now, so it's really starting to come to life. And even if I remove the line art, you can see that I have different surfaces. That's what makes you I really realized that your shallowing is good. So I'm gonna save before going the last part off the coloring, which is the highlight. 8. 7 - Highlights: So now I'm gonna do the highlight layer. So I'm going to create a new layer right here, which is between line art and shadows that I'm gonna call highlights. I'm gonna make sure that the color is something pretty pretty light. So I could go with the yellow in order not to have any current that has already been used, even though the magenta was not used. But I just wanted to choose the yellow for this example. I'm going to lock the shadows later. I do not want anything on it. And not for the highlights. First of all, for the skin tone, I usually go with the white color, OK, And I'm going to do something quite thin. Actually, the white color is the one I'm gonna be using for everything. So first off for the hair. So for the hair I'm gonna go with something from here to here along the lines I have defined for the line art. So it's really the expression off how light he is hitting my drawing. So I'm gonna go along the ones right here gonna go a bit like this to give on emphasis on the eyes and then I'm gonna know Work all my way up like this Until here. Okay. So, as you see, I guess I should have actually used this path right here. And I'm gonna at this as an additional one. Right? You. So this is how my highlight is hitting the face off my character. So I could also decide to change the curvature a bit if I want to. Okay. It's really up to me to do the optimization. At that point, I'm going to do very sink for this part off the muscles right here before going all the way on shirt. So ongoing hunts outfit. And at this point for here, I'm going to stop right there. I'm going to see if I'm gonna add anything on the uniform. But so far, I'm pretty satisfied with what I have here. Oh, here we go. I'm gonna add some highlight on the arm and emphasizing here too short that there is triceps muscle starting to build. So when you do a lot off drawings, you're pretty used to the anatomy. So that's when we know where the highlight should come in handy. And I'm gonna do some highlight on the pectoral muscle, right? You make sure to follow along my line, art, which are the separation? She's separation. I need here. You see the great emphasis on the pectoral muscle. So it really gives me now that kind of three d effect that I need. So I have the highlight in everywhere, and I believe that's actually already enough. I mean, I do not need more line art than this if I hit the view and hide the transparent secret. So as you can see, I can feel that there's a light coming towards my character and actually really, really realistic now, So it looks really, really good. Okay, Trucks looks really, really good. So I'm not gonna add anything to that for now, So I'm gonna lock the highlights. Now. I'm gonna hit the file on the safe, but 9. 8 - Fancy Background: So before exporting my drawing, I'm gonna add an additional thing that can be done in at the Illustrator. So I'm gonna add something called fancy background. So I'm gonna add background, actually, anything I want. So for now, I'm gonna hit depend toe. I'm gonna choose the fill in with pretty pretty, like bluish color with a stroke, which is very light. Great. And I'm gonna do something that looks as I think. So it's something I'm really drawing out of the drawing itself. It's really something additional. But it could, however, give a lot off beauty too. The drawing. So now, once I have this, what I can do is hit the control A in order to have the fancy background selected and I could go to effect. And the stylized I'm going to use the outer glow. So for the altar glow, I'm gonna choose white ish color. Okay. I'm gonna choose on a pass ity off 80% and a bit off a blur. I'm gonna hit okay, snow If I remove the transparency If I showed transparency, we will see that there's a big off white glow while you could actually see that white low if you're using a completely dark background, Okay, we're gonna be able to see the glow much better. You see that glow that I have right here? So I'm gonna be adding that bit off low. Gonna remove this for now. Once this glow has been added, I'm gonna add some blur in order to give a depth perspective. So here, you see, this is without blur. This is with her, okay? And this is what I have. So now have something with Hitler. When I have the transparency, I can see that I have something additional right here. So I'm just gonna work a bit on these Endler for them to appear a bit more clearly so that I can have a bit off emphasis on them within the background. And here we go. So I could also in the Blur, chose different types off blurring. I could even do some emphasis on the brochure. If I hit now. Very to tell me this is apply another instance of this effect trend in the current effect number. Take the name off the effect in the appearance panel. So in the appearance panel, you are able to double click the go, Schindler, in order to change it and not add some additional blur. Okay, You could change it in order to have something which is more suitable to what you walks. Okay, so now that they have finished the drawing, it's time to export it. But first, I'm gonna make sure to save it. 10. 9 - Exporting: So now comes the time for me to export might join. I make sure that all the visible layers I need for expectations are selected, and I go to file export expert at so if you want the highest non compressed version but yet pixelated, while not pixelated, meaning that it won't be highly resolute, beaming that you don't want it as Victoria will you have to select the PNG option. If you want to keep it the pictorial. You could go with the pdf, but in that case you do not go to export. You simply go to file safe as, and that's where you will find the pdf option, which means that the quality remains untouched. You're not pixelated anything. You're not converting vectors two pixels In the PNG, you will be converting vectors two pixels, and so you will need first choose the art board. So I'm choosing this art board to make sure that nothing off the colors that are going above the hardboard are selected. And as you can see, the art board can be modified at any time during Adobe Illustrator, not just at the time of creation. So that's the great thing about it. So I'm gonna go to export on expert as PNG using the are put on the first range meaning the whole range of the first art board. And I'm gonna name go home throwing one, and I'm going to export now at the export, I have additional options. First off, all, I have the resolution option, which means that Adobe illustrator is really acting like a scanner. It considers that I have, like, bdf an illustrator file, and I'm scanning over it to give an image. So the highest, the resolution, the higher the dimensions off your drawing will be. I usually go with 300 peopie i in order to have the best possible for the anti Elia's ing. I go usually with art optimized in order to have the smoothest expert possible for the interlaced. It means that instead of floating your image a chunk after chunk, it will load everything at once first blurry and then make it clearer. I honestly don't really like the interlaced option because it makes people with slow connections feel as if they don't know at what time your image has been loaded. So I really don't like this option, but some people prefer it. It's really up to them. And for the background. I could choose whether I want to transparent background, white background or even a black background. So in my case, I'm going to remain with the transparent background and I'm gonna hit. Okay, so at this stage, my program is working because the export takes a bit off time. So don't worry. In my case, it's a bit quick, but if it's a bit slower, do not where it could take up to five minutes to export this drawing that you have. And now if I go to the folder, this is my new go Han drawings. As you can see, there's no background. Okay, this is the digital version. If I choose a white background, I'm gonna have something white. If us choose a J bank, I'm gonna have by default white background. And if I need any other background, I can simply go here and at the layer and choose the color of the background. I need to export it as J beggar PNG. At that point, it will not matter because everything in our world will have been filled 11. 10 - Drawing From Scratch: In case you really want to get rid off the traditional ways off drawing, meaning no pence's and no pieces off paper, you could start your drawing right away digitally. Now, in order to do so, it's better to have a digital tablet such as the ones that the company welcome those. But there are also other companies as well and the software on where you will start your drawing. So for the sake of this example, I really like to start my drafts on. It'll be for a shop because of the diversity off the tools and because a draft is better. Drone on a pixelated, softer and not pictorial software. Because if you draw on a victory of software, you will have as someone who draws the tendency to add a lot off lines. And therefore, since each line represents a vector, your father will be very complicated toe process. The more lines there will be on your computer or your graphic guard will have trouble loading the files at each time you are adding a line so it will get complicated really quickly. Meanwhile, in the case off pixelated, softer, so softer that works with pixels, you will have your lines representing fill in within pigs also a color off pixels that will change only and not the mathematical function under each line. So that makes it a lot easier to drop. Now, keep in mind, there are a lot off other tools that can be used for drawing, such as the pain tool as a I or any other software you can find a lot off softer for that. So far, shop is not be on this after to do that, I'm just using it because I'm used to it. And because off all the diversity off the tools available in a deal before the show, So in order to start our drawing, we're going to go to fight, and we are gonna create a new document. So in the latest version off for a shop, you have several presets available to you. Now, if you don't have them, it's okay. If you have an older version, does not matter. You can still use it, so I usually go for the art administration toe a 10 80 p setting. So these are the settings. In case you do not have the preset, you can, you can put the presets yourself. So this is the with I'm using and the height. So it's actually the same as a full HD video, a resolution off 300 pixels per inch, which will make it a lot easier when I'm doing my drawing in case off having 72 big six per inch, which is smaller. An RGB color mode off a bit is okay, since I'm only going to be using a black brush, so I do not really need any color. So if I'm using an eight bit more, it will make the documents smaller, and it's actually better now for the background. I'm using a white background because it's a lot better to draw on something white, such as you do on a piece of paper than something transparent, because in a transparent canvas, you're not going to see very well the pressure on the opacity off your brush that you are applying. So once we have these settings selected right here are gonna go to create. So this is our new canvas right here. Okay, a white canvas. So we are going to create a new layer double click on it, and we are gonna name it Draft. This is the one into which you are gonna be drawing now, in order to draw, we make sure first off, all that the foreground color is purely a black color. Okay, with these coats right here. And the white color is purely a white color with these colds right here. Okay, Now I keep the foreground color selected. I go to the brush option, the brush tool, and I, right click in the brush tool. I have several options. Now, the best one for drawing is the brush tool that it's hard on that response to the pressure size option in order to have these end and beginning off lights. So which will make it a lot like having actually a pencil and drawing. Now, I make sure that these two options are selected. The 1st 1 the pressure for rapacity. Meaning the more pressure I will put on my bed, the darker the line is gonna be. And also this one would. She's pressure for a size. Of the more pressure I put, the bigger the size will be up to the limit off 10 pixel that I have put right here. I could have a bigger size and therefore have a bigger range for the pressure to size option. Okay, it's really up to you now. I found that a 10 pixels is really more than enough. Okay? And that's where I'm going to start my drawing now. A great thing is that you also have thes shapes that are available to you and that can help you a lot in order to make your draft a bit more perfect. A bit more beautiful, which will make it easier when you are gonna be working on Adobe Illustrator to redo the whole Leinart and colors and shadows and highlights. So for the sick off this example, I'm going to start with an ellipse stool. I make sure that the film is blank. I don't want any feeling. The stroke is the black color, and I'm gonna choose a five picture for the size. Now, once I drag and drop my circle, I make sure to maintain the shift key so that I obtain a perfect circles or otherwise it would simply be an ellipse. Okay, so this is my first circle right here on. Then I'm gonna drop my second circle. I also maintain the shift key so I can have perfect circles like here. So the magenta line tells me that they're perfectly aligned. Or I could have them a bit different. Okay, it really depends upon what I'm really drawing. So I'm going to re select the brush tool that I have now, Since the ellipses have bean in a new layer, I'm simply gonna go back on, create another layer, okay? And here, since this is the first ellipse and this is second lives, I'm gonna greening this one toe lips number two. So the good thing is that objects are created into independent layers. I can get rid off them later on if I walked. Okay, on. This is Libs one. Now I'm going to use my tablet. Okay? I'm going to assume a bit right here. Okay? And by using my tablet, I'm going to start drawing something right here. And you're going to see what it's gonna look like. So I can give a bit off a few strokes. I can give a continuous stroke. You see, like this is for a light pressure. This is for harder pressure. You see how they change. And this is an example off like line is example off a harder line. So everything in the middle everything changes according to the amount of pressure I am putting into my pen. Okay, so I'm I just went back in the history in order to erase what I previously did. So now I'm going to start to draw a character that you're gonna recognize right away. I'm not gonna tell the name. Keep in mind that I'm going to do this pretty quick. I don't really care about beauty off the drawing Now, as much as I want to show you how easy it is to draw on other before the shop and the beautiful diversity off the tools which will allow me later on to correct anything I want and to make this drawing as perfect as possible. So you see now, if I made a mistake, I can simply go to the eraser tool and in the razor tool, I also have the same options as the brush. I also have the size. I also have the soft pressure or a soft drowned brush, softer onrush, meaning that instead off removing everything at once, it will remove them pretty softly. So you can try both off the options and you will exactly see what it does for yourself. In case you do not see clearly the difference. You'll see that for the razor. Using something soft is actually it that better? Okay, so here, I'm gonna correct this one right here. I make sure to give as light off a touch as possible. Okay, so this one also I don't like it, So I'm gonna redraw this line right here. This is what I have. Okay? I just want to fix that a bit. So you see, the great thing is that I can really, really removed everything I want whenever I want. I can do control Z if I do bad line again. Like I don't even know how to explain it anymore. It words with is just magical. I mean, you can really perfection it you're drawing. It's much better than using something traditional off course. There's the charm of the traditional drawing that you don't have for that. That's true. I'll give you that one. But at least if you're if you want something that looks as good as possible, you have all the available tools. Okay? You can. It's not like you've drunk drone. Something better. Need to start from the beginning. Can really remove any unwanted thing. And that's what makes drawing on a digital tablet and software powerful. Okay, so I guess you will recognize the character I'm drawing right there. So you see here, I'm really starting to draw something from scratch. I'm not over lining over anything, okay? Really, everything is from scratch. I'm just adding those lines as many lines as I want. Okay. When I know that line is the way I wanted, I can simply emphasize with strokes over it, Okay? Just to mark the limitation, which will be helpful later on, whenever I decide to do my Leinart. So here. I've just decided to make it a bit thinner on. There you go. Okay. So this is a really quick and rough sketch off Homer Simpson right there. Okay. And there you go. So that's a way off doing drawing from scratch without needing any pencil or paper. Traditional paper. So once this is done, I can simply go to file, and I can save it. Okay. So, usually the best way to save it is as Jay Peak fine. Okay. So that you will later open under Adobe Illustrator and where you can we do all the line art. Okay, then you will be able to do the fill in. You will be able to do all the shadows on the highlights, and you'll have great digital version off your drawing. So there you go. I hope you enjoyed this tutorial and stay tuned for many more to come.