Get to Grips with Gradient Maps | Jennifer Hawkyard | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (1h 25m)
    • 1. Introduction

      2:10
    • 2. Class Overview

      3:11
    • 3. Source Colour Scheme Inspiration

      11:52
    • 4. Value Studies

      8:18
    • 5. Create Your Value Based Art

      3:25
    • 6. Exploring the Gradient Map Tool

      25:43
    • 7. Masking Multiple Gradient Maps

      17:05
    • 8. Finalising Your Artwork

      12:53
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About This Class

In this short class I’m going to show you how I go about exploring colour schemes by quickly and easily using gradient maps to manipulate and edit colours in Photoshop. This class is great if you struggle with colour schemes in your digital art, it’s a way to quickly and efficiently explore lots of colour variations before you get too deep into your creative process. Similarly, if you are new to digital art, it can often be overwhelming and difficult to start applying colour to your artwork, the colour systems work differently from traditional media which can be confusing and frustrating. I hope to give you some solid tips for how to use some simple techniques to cross this hurdle and create beautifully coloured digital artworks.

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What you will learn:

  • I’ll take you briefly through creating a black and white or value composition which is the essential stage for making gradient maps work for you. 
  • We will explore the gradient map tool and what it has to offer you.
  • From here we will also look at using masking techniques to use multiple gradient maps in one composition. 
  • The next steps are up to you! From here, I hope you have the tools you need to finalise your composition and take it to the next level. 

Experience level:

This is a beginner to medium level class. You should have an understanding of how photoshop works - i.e. creating a new document and using brushes to create a black and white composition, but most of the crucial areas of this class I will be covering in detail.

What do you need?

A Wacom Tablet or equivalent is ideal but not a must. A computer of course! Access to Photoshop or an equivalent tool that offers a gradient map tool.

Additional Resources:

Inspiration: Check out Pinterest to browse inspirational art pieces.

Gradient Map resources:

(please note I am not affiliated in anyway with the above resources, they are simply the places where I have found useful resources)

Chameleon Adaphtive Palette

As referenced in the tutorial, I use this handy little tool to more easily pick colours in Photoshop. It can be purchased from CubeBrush here.

(As mentioned above I am not affiliated in anyway with the Chameleon palette nor benefit from referrals, I just like to share where I have found useful tools.)

Meet Your Teacher

Teacher Profile Image

Jennifer Hawkyard

Artist, Illustrator, Creator and Teacher

Teacher

I'm an artist and illustrator working in rural west wales. When I'm not stalking the countryside looking for inspiration with my long legged hound I'm hunched over my desk drawing whatever critter has dropped by to say hello.

After a successful career as a Graphic Designer and Art Director working in Ontario, Canada, I took the leap and quit my day job to move back to my homeland and pursue a full-time career in my first love - art and illustration. I now work full time as an artist and illustrator selling and displaying in local galleries and arts fairs as well as working on commissions that come my way.

I'm looking forward to sharing the little tricks I have learnt along the way that have helped me grow as an artist and show some insight as to how I create my work. 

Check out my website to see what I'm working on at the moment! www.jezhawk.com

See full profile

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Transcripts

1. Introduction: Hi, My name shedding hold coach and I'm full time illustrative working in West Wales. Uh, this new class is going to be all about using the great game app to in photo shop. So it's a great tool has been there for the longest time. As actually, it's super flexible and useful. Full getting your color scheme started in a new digital art or illustration piece. So as a full time illustrator, obviously I you endeavour Teoh create works quickly and efficiently and also to share rough concepts with clients that don't take a huge amount of time but still convey the concept across on which is fairly close to the final artwork. So with skills that I'm gonna be sharing with, you are suitable for people who are learning digital illustration. You toe on you to illustration and hopefully will help bridge the gap between sketching phase on the color phrase, which is often quite difficult when you especially if you made this switch from traditional to digital. The color systems work quite differently, So the tools I'm going to share with you hopefully give you a great base to work from. We're gonna cover inspiration for color schemes, as well as the nitty gritty of how to use the radium up to two craft a color scheme. Work with your work. We'll also get into a masking multiple grading and last radiant maps, even so, that they all interact with each other properly and you can create quite a very color scheme. So if you're familiar with my work, you know that I do quite textured, quite detailed, quite colorful artwork on a lot of what I've done. I've used this technique throughout, so hopefully you'll enjoy and hopefully you'll be able to create some really colorful artwork at the end of this project, and I look forward to seeing what you create. 2. Class Overview: Okay, so I'm just gonna give you a quick overview, but we're gonna cover in this class. First step is obviously to find inspiration for our color scheme. Um, I don't sort of believe in creating in the void. I believe in surrounding yourself in inspiration, as I have done in my home on day. Um, you know, sourcing inspiration and sourcing color scheme. So first will go through through different options for that. Secondly, we will study the value stage. So figuring out what value is working in black and white, what makes a great, um, broad value study versus a very narrow, violent value study and how that effects the results? Next, Um, we're gonna look at creating the piece of art itself. So I'm gonna take you through a quick time lapse off of how I start my illustrations into that value study stage. Eso you can follow along and I'll just explain what I'm doing and why I'm doing it. I'm also gonna shares mix examples of several pieces of artwork with different value studies, different colors game so you can see how all of the pieces fit together and how what the end result looks like, um, Then we're gonna get into actually exploring the radiant of map tool. Um, so using photo shop to create grading maps, exploring color schemes in that way. And also, you know, the nitty gritty of how the tool works, as well as where you confined resources such as downloadable packs of grading maps or creating your own and saving them for NATO. And then in the next stage, after that, we're gonna cover masking multiple Grady int maps to, um, create a more varied color scheme. So some art works. You might only use one radiant Matt four on the whole piece. Others you might use several. So the examples I'm going to show you Ah, cover that spectrum and I'll get into how you go about masking a radiant map. And what happens if you do or don't. And three extra flexibility that that will offer you in your composition. And then the final piece is looking at the final artwork that comes out of it. So I'm not gonna be covering the whole creative process for that. You're welcome to check out my other digital art class that covers most of my process. Um, because that's quite involved study in and of itself. But what I am going to show you is that from the very beginning sketched age to the finished piece so you can see how those artworks are created, using the great amount to which was really the foundation for the artwork. So you'll be able to see how it how it evolves and then from out from that, hopefully you'll be able to create something to share with me and, uh, with the community on skill shares, so hopefully you enjoy following along. 3. Source Colour Scheme Inspiration: Okay. So, as I said in my introduction, um, I don't believe that Ah, creativity happens and avoid, Um I think a lot of young artists or new artists run into troubles just scary, staring at a blank screen and hoping that inspiration will hit. Um, Suomi. Ah, inspiration has always come by, sir, under myself with things that inspired me. And I'm inspired by and things that I like. Um, So when you're considering selling a new piece of artwork, especially if your new new to creativity, I highly recommend spending some time just thinking about the concept of the piece that you want to working what, what headspace you want to work in? Um, if in a sense, sometimes it's easier when you have a, uh, an outline like a client might give you a very specific outline. So when you when you can create absolutely anything, if you can be overwhelmed and end up not doing anything at all. So if you obviously aren't working for a client that maybe create yourself your own little guidelines, uh, I'm just gonna go through with you three pieces here that you pause, you see on the screen on just explain how, um, not necessarily the inspiration for the pace, but the inspiration for the color scheme for the pieces. Um, so, you know, similarly, in regards to the creative process, uh, you may have an idea for the composition, but you might be stumped for the color scheme, so or you might want to explore lots of different color screams. Um, so exploring. You know what went to get this inspiration from, um, is what we're gonna cover quickly here. Eso these three pieces that you can see this one here is was created for, ah, a subscription box company. It's an illustration that goes on a mug s. So this is why so long and narrow, but it was inspired by a Victorian seemed book. Um, so naturally, my research not narrows everything down pretty quickly. My research went into Victorian era things. Similarly, it was also based around the stalking Jack the Ripper books on that stalking Sorry. And Jack the Ripper, Um, period in Victorian times. So that helped me narrow down again. Um, my area of research in regards to, uh, the composition and the things that are in the outwork and also the color scheme so that you're seeing here. The final artwork on here are just a few off the pieces that inspired me. So obviously going with a kind of steampunk Victoriana type theme with lots of details, um, books, old Victorian books on this very much was color scheme inspiration. So going with an idea of this sort of golden copper feel, um, with the aged called the, um, what would I call that secondary color or complementary color? So you can see that these three images really relate Color scheme wise. You've got an accent off turquoise or teal and then an over overwhelming, um, warmth to everything else. So I usually do really colorful work, and I often do many, many colors in these few pieces that I'm showing you. I'm giving examples off more restricted, more muted color scheme. So just working within sort of three or four cause which helps give a lovely sort of consistency to. It really depends on what you're trying to create. But as you can see, what I've done is I've really pushed that golden coppery feel. So, you know, my brightest color is the white. Obviously the predominant is this warm yellow throughout. Then we've got on a coppery reddish color on a subtle accident off that teal color just just popping into some of the shadow areas. And then finally, we've got our darkest, darkest areas here that's almost black. It's a very warm brown. So that is an example off. How I have, you know, when I create artwork, I always have an inspiration folder on its maybe 5 to 10 or more images. Some of them are aesthetics that I'm looking to be inspired by sometimes color scheme so often it's just little pieces of the artwork or the images can be completely desperately could be nothing to do with what I'm looking at one of looking at creating. Um, they're just simply, uh, reminders. Visual reminders for me, too. Pull into my artwork. So that's one example. The next example. Waas This piece This was a commission for ah, I d. Recently, um on and she had a very specific ah goal in mind. Never specific description that she sent me. Um, so, as a result, you know, that really helped narrow down my creative process. Um, I knew that I wanted to create. In contrast, appears that you showed you, which is high contrast. It's got very bright, writes very bright whites and very dark dogs. This un you wanted to be really a serial, um, and light. So the darkest docks are really only in her eyes. Everything else is quite pastoral. Reduced, Um, very soft. So naturally, you know, my inspiration went towards iridescent colors, pearlescent colors. So this is on Pinterest efficiency. I have a huge selection of Pinterest boards that I use for inspiration. Um, and if I'm stuck with the color scheme, are often just browse through them on just often. I'll just see an image and go Okay. Yes. This is the direction that I need to go. Oh, this is really inspiring. How did they create that cut away? So here's an image that has a very similar color scheme to what I was driving towards, You know, primarily the pinks coral colors on in touches off this, um teal soft yellows. Eso so really going for that? Trying to understand how that iridescent color worse. Um and you know, just the simplest of search terms can help u um, home, home down on that mean Here's another one of the nice example off, um, trying to break down. What? What gives an image that effective iridescence. And how can I bring that into my artwork? So all of these images that I'm showing you here, I'm gonna be also showing you the grading maps and age publicity. Um, so this is just, you know, covering the the inspiration stage looking, looking for things, whether it's things in your home books, photos that you were going to be inspired by. And, of course, if you haven't color scheme in mind Great. Um, uh, it's totally up to you and how your mind works. But if you are stuck for colors gains or you're looking to have help narrowing down what you're going to do, then I advise just just exploring some options like these, uh, the final image I'm showing you. Here's another angel. Seemed one, which is what I tend to be commissioned to do it moment. Um, but I shouldn't see the inspiration images on the left here. Very different. We have The subject matter is completely irrelevant to what I created in the end, Um, this one. You know, this this angel had a very specific meaning that I needed to convey. Um so naturally, there were guidelines that I was working within, um, in in the in regards to this scope of the project, I had not created something. Ah, color scheme like this. So I knew I wanted to work within a kind of desert type feel, um, which narrows it down immediately to reddish yellowish colors. Um, and then also thinking about Okay, what's my accent color? Um, naturally, my brain goes towards complementary colors. Um, so you know, blues, purples. We're gonna work very nicely against oranges and yellows. Not just simply looking at your color wheel. Uh, so these were the two images. I believe if I remember correctly, that I really was inspired by in regards to color skiing and especially with this one on the left, you can see how closely the colors relate. It is lovely rich yellows on. Um, no, I didn't use this quite the same blues about more, more similar blues in the wings down there, but it really helped me sort of hone in on swishing, integrating mop stage. How? I wanted this a piece of and this was the first image I saw um, which I really love. Um, but obviously I chose not to go quiet. Search deal with this piece. Um, because it ends up with a different feel. It ends up feeling a bit colder, but slightly more aquatic. Um, a bitch. Not quite as approachable, in my opinion. So, um not was the inspiration for this piece in regards to the color scheme. So, as I said, if you're looking for inspiration four colors, um, I highly recommend checking out pit something like Pinterest. There's lots of things out there and you're welcome, obviously, to explore my Pinterest page, I've got a huge collection in illustration inspiration on. I particularly find within concept arch realm on landscape arch. That's where a lot of the maze and color scheme stuff is happening. In my opinion, Onda also looking at stuff in this context in some nail contexts, you're not really looking at the art work or the detail. You just seeing the color come hitting you, especially with this one here, for example. So, um or this set down at the bottom. So it really helps you see, get an idea of how how powerful a color scheme can be if you can glance at it, um, in a very small, uh, view. And it still has an impact on you. Um, well, here's an example here. Very simple color scheme. We've just got magenta, crimson, white, yellow with there's a hit of green to draw the ice room. So first off, my recommendation is to you explore your inspiration vault, so to speak, and find yourself some ideas from wherever you get your ideas from. 4. Value Studies: in this video, I'm going to talk about value on why it's important for ah, your artwork and certainly for this particular tutorial, eso value is basically the lightness or darkness off a color were obviously very used to looking colors. Uh, you can see them here on this of the color wheel. The moment Take the color out of image. You suddenly discover that a lot of colors have the same value in the sense that we are the same. Um, contrast. They don't differ from each of the practically half. The color wheel looks exactly the same. So, um, it's a lightness or darkness of a color. Ah, a natch in in this, in essence effects the composition off your artwork, and similarly, it affects how the greedy int map to works on. And in the next video, we're going to cover how about two works. But in order for that tool to work, we need to have a strong value system set up in our work. We also need to know what kind of value range we want to work within. Um in this piece is I mentioned earlier. I knew I wanted a very light a serial artwork. So it's got a very restricted, um, value field, so to speak or value range. It's very much in this central range. There's not a huge amount of contrast. Um, you know, the darkest on his right in her eyes, the and then we've got the widest whites sort of surrounding inner or, um so that waas Generally, it's unusual. One formula is a very restricted color palette and as a result, for restricted value palette as well. Um, the most design that I mentioned earlier, you know, we know that we wanted, um, very rich peace, richly colored piece. So that's not gonna work. If I use a very restricted value palette in the lighter end, I need to go dark. I need to have quite bold darkness and contrast, basically, from light to dark. Um, so we have all these contrasting elements, very light areas and very dark areas. And similarly, there's a good range of middle tones to, um so having that contrast in the artwork is is going to help me build the color scheme that will make a inviting composition. Um, so often working in black and white at the beginning stage of your artwork and really simplify your process. Um, it allows you to create a your composition and think about the composition and structure of the artwork that we're worrying about your color scheme often. Certainly. When I was a young artist, I just wanted to jump straight into color. Andi started painted color straight straight away and then would get frustrated when it just came out looking awful. Um, so I didn't understand how the colors were relating to reach her. They were working together. So focusing on getting a strong composition and first getting your details and first in black and white, really, that you solve the compositional problems without dealing with color as a distraction on. Then the color can be added literally. Is the icing on top of the cake? Andi? So here you can see how much value range in this is literally the broad, the broad spectrum of the value range rather than a very narrow one. As you can see here. Similarly, this artwork um, you're seeing all these, but she's here in their rough form. So this artwork I knew, uh, the environment that I wanted to character to be in, um, it's kind of sheltered feeling. So I knew I wanted to be in that more muted value. Space don't in a darker ah area that I wanted to be in this a serial, you know, pastel colored artwork. But again, you can see that I have my contrasts here. My darkest doc is in his hair and in this costume as well. A sad life, just light is really drawing the attention to the face here and somewhat to the background and just swirling you in. So if you use value correctly, um, you can use it to help your composition, and the color will then that you had later on more than just simply support that, um rather than trying to do it the other way around, you know, fighting with the contrasts and fighting with the values searches. Ah, in this piece, which I'm gonna show in the great mop stage of the tutorial. A swell, um, again, Uh huh. New. Um, the color is roughly the color screen that I wanted. And right from my inspiration stage, um, also something I knew the colors, the color off the angels skin that was going to be dog. So that was dictating how the composition was going to look as well on as a result. You know, about the darkest dark is in the center, off the image on the lighter areas, supporting that and drawing you in, Um, and then from the the color scheme, will you just pull it up? Here is the rush color scheme. So the great maps laid on top of that supported that way that the colors work. Ah, so again, getting your black and whites in your values, Um, getting ahead wrapped around how that works. Ah, strongly recommend working in black and white doing a whole painting and black and white. Um, it just picks the process so much easier because, you know, having to faf around with colors. And you can do that at a later stage. Certainly when you're planning a drawing and just getting rough concepts out, it's really great for that because you can just focus on the composition. Um, how that some nail image looks from a distance? Uh, because you're still gonna have If you get your values right, still gonna have a sense of the weight of the color that the weight of the color on the page. Um, so you know, one way to wrap your head around it is to get a color wheel and simply de saturated. Um, this is a hue and saturation. They're in photo shop. You can also just simply, um, go to image. I got an image mode, gracia Lots of it. I do it so rarely that we get out of it. Ah, it's even worth while doing on your existing artworks or checking in as you create color dot works throughout having a hue saturation lay on the taking saturation down to zero and just seeing how the values are looking, whether the contrasts are gonna come through correctly. Um So again, value is simply the lightness or darkness off an image or over color. Uh, and that will really help. Set up your image, get you off from the starting blocks. So the first step off your project for this class will be too. Share will not only your inspiration, obviously for your color schemes, but share your values study. Share a rough sketch like these rough sketches and how the black and white part off your artwork came out 5. Create Your Value Based Art: so now that we know what value is, um, and I've shown you some examples of how that works. I'm just gonna take you through what is, really I consider the most important part of this whole process is creating that value based artwork. So, in your project, if you just want to quickly get to grips with how to the radiant map to works, then feel free to create just a very simple composition. Um, maybe it's a cube or sphere just playing around with highlights and shadows. Otherwise, you can create more complex composition like what I am doing here. So all of my own work tends to start with the outlying stage first. Um, simply because that was how I kind of got my start was working in sketching out ideas and simple outlines. So that's how most of my work starts is with that this kind of sketch. This is done in procreate. You do exactly the same. And photo shop, it totally is up to you. Um, so we've got the outlines in on then I'm starting to block in the values so I can literally use the, um, last you tool, for example, to separate the different sections of the artwork where the lightest areas are, where the darkest areas on where the mid tones are on and keeping chosen on this one to keep the background steady, muted because I want to focus to be on the central character. So, um, you can see how I'm bringing in elements that are throwing you into central parts of competition, keeping it pretty loose on the outward edges on, then tightening everything up in regards to detail and contrast in the central areas of the image. So using details value to really draw the eye into the important parts of the composition, and you can use these techniques no matter what your subject matter is, you can just simply, you know, focused the eye on key areas of in composition by using contrasting values, Andi contrasting detail or lack of detail. So hopefully that little video just helped explain on show how those pieces come together. Um, I strongly recommend taking a time in this section. If you are going to do a full composition, then certainly make sure you're really happy with how it looks in the black and white stage and how the contrast, are looking in black and white sand thinking about how the eyes in a move around where you want to draw guy too, Um, using the values and the details in the artwork. So the moy folk is it the more you answer those questions in this stage, the easier is to continue and financial yacht work, and also to create a nice Cummiskey. So in the next video, we're gonna be touching on great map to how that works from your value study. 6. Exploring the Gradient Map Tool: right. So now you should have a value. Uh, black and white sketch, rough sketch. Um, as you can see from these artworks here that, you know, it doesn't have to be perfect in the sense that it's it's not finished. Our work at this point, this is your jumping off point. Um, But what I would hope to see is, you know, you have a pretty defined value study going on here. Whether you're going for very muted, um, ranges, we can see in this one here, or if you're gonna go for, um, high contrast, um, high detail or lo contras, low detail. As I mentioned in the last video, if you have a value sound correctly, then you, uh I'm gonna have fun with the Grady int maps. So I've got the Photoshopped files open of these different artworks, and I'm just gonna take you through um, the how the great aunt maps are applied to these artworks how they get from, um, being black and white. Let's bring over the great that I apologize to two colors. So this is how the rough that was sent off to the client looked, um, still pretty lose right is very loose, but it's it's a concept that, you know, it was conveying what it needed to convey at the time. So we have my base sketch here. All of the black and white work is is done. Some of that is just simply lawsuit in, um, for example, we can see the wings have got, um, a radiant on them. So, you know, that's a tiny little nifty time saving technique issues. Great dance. If you create a certain life lighting effect on, then sketches and details of put on top of that, um, this, You know, you could do that. Staging, procreate, or you do that stage in photo shop. It's up to you from here. We've got I'm just gonna turn group please and turn them off on. We've got several different grade it maps going on here on. I'm going to get into more detail into how to mask as we go along, but you can see how they are interacting with each other. We've got a gold, uh, colored Grady, um, up here, um, a more reddish rusty color. And then when we got the blue off the wings, um, this final section is the details. Uh, this is where I'm going to get to in the final. Ah, few sets of videos is where you go from that radiant map stage. So if we take it back to know Grady, it maps toll and simply work from the base. You add a great amount by going Teoh in your layer pallets in photo shop down to this little circle here, uh, it's basically adding a new filler adjustment layer so and at the very bottom of gold radiant map. So this doesn't affect your artwork. It'll it's a layer that's sitting on top of the artwork. Um, this is what I love about photo shop. You can have so much fun just messing around on DNO not destroying what's underneath on. So it's defaulted to, I suspect one over Grady and I was using last, which all this is like an X ray or something like that. Um, Andi, depending when you were ah, photo shop settings, the properties window may open up for you, that showing the grading that's visible there. If it doesn't, you can simply double click on the, um, Grady in there, and it will bring up this little thing here, but I have the properties window generally always open. So in order, Teoh changes this radiant will simply click on. I must apologize. Everything's opening on my other screen, so I'm bringing over. Uh, you'll get the grading editor. Um, so you're grading editors Family gonna look quite different from mine. I have a lot that I've made. I have a lot that I've downloaded a lot that I've saved. I will provide links to places that I have downloaded or purchased great map packs from. I think I maybe don't one or twice otherwise have used the defaults that are available within photo shop itself. So depending on what version of photo shop you have, um, you're going to see different things. Really? What I advised you at this stage is to play around. This is what I do during my creative process. I tend to go, obviously, if I know him when color scheme is. And if you remember I had that lovey desert seeing inspiration, then obviously I'm going to start clicking on the radiant maps that are perhaps in the room that I'm interested in. OK, and I think actually, at some point, this was pretty damn close to to what I wanted. No, this is why in the next section of the videos, I'm gonna talk about masking because I was See, this is a nice effect for the sandy cavern background that he's sitting in, but it's not suitable for his wings, and it's not suitable for hiss costume on. So in order to add complexity to my artwork, I then musk different radiant maps. Um, so, you know, bear that in mind that you might if you have quite a complex composition going on, you might want to be sampling several different maps in order to make your artwork work. Ah, but it's worth exploring in this section because sometimes I've been working on some artwork and I'm not really sure of the direction, Um or I'm sure, is the direction on I suddenly choose, say, a Grady amount like this, and I think, Huh, OK, actually, that's quite interesting. I might explore down that section. Uh, but what you can see is simply how the Grady int map is working. If I select a fairly simple, uh, grading that what we have here is two colors, so and under obviously the spectrum between one color on the other, color in between. The color on the left is going to be your darkest value. So in regards to this artwork, I was making my darkest values down around the face and in his costume here. Therefore, if I choose a light color in this section, that's why you get that inverted polar on Florida and negative effects or ah, like an X ray sort of effect. So it's that's happening to your artwork, and you're really confused by it. Then just realized that this is the wrong way around and make sure that on the left it's going to be your darkest color on on the right. It's your very lightest light, so, as you can see, it is applying the lightest value is applying a orange color to it. If I want. My life has value to be white, okay? No, we've got two colors again. We've got why to appear or slightly, you know, slightly off white, spring it right into the corner, and we can go back to our dark and shoes your dog. So this might work in some cases, Generally, I find I need several more colors within here to get the effect that I'm looking for. So sometimes three or four or usually three is 3 to 4 is really the maximum I find it starts to get a little bit out of control. Otherwise, um, which is why you're seeing this middle little square coming in to some of these radiance Because that's giving you a mid tones. The midterms obviously, really important for, um, how would I put this? The middle sections of your artwork? The the low contrast areas, the filler, so to speak. Um, So if, for example, we wanted to go with this green color scheme on, we found that actually, this dark areas that too dark weaken me. Earthy middle color, unlighted in the hole. Um, color scheme. Okay. And at some point, we start to lose value. Ah, and likewise weaken. Bring it the other way. I'm wait. He's put more and more into shadow more and more into darkness. Okay, so do you really dictating where the values are going to be set where the color is going to be set. And this is why I was saying that if you have, um, a low value artwork low contrast is if I take my my black and white all right, work down in contrast. And I turned my great aunt map back on and I go back to you one of our high contrast ones. Look at how we can't really see anything. It looks like he's in a mist or fog. You know, we really have to bring ah, doc sound Don't know. Here on our lights, Even if we put our lights all the way up, we start to lose it. Oops. Sorry, noses that these things are hard to get hold of. Um, you know, we get a different effect. Ah, but it does really helped to have not high contrast base people back upto. So I keep canceling out of that and then moves in the effects that I've replied. Uh, so, yes, as you can see, you know, get getting these dark colors in is gonna allow you to add the segments to your grating Grady int map. Um, so four colors evenly spaced along is working quite nicely, and it's also working quite nicely, all within the same kind of color scheme with about blue violets going on here. Um, so if we want to brighten up the lights a bit. See, in my opinion, not goes too far. You know, we can do that. And if you're finding this pinky, violet is not really your thing. Then you can leave the color picker where it is and just simply go click anywhere on the color bar on the rainbow there. And it will keep the same values staying in that value range. Um, but it's picking a different coat, and often it's a mid tones that are gonna completely change. Um, the look of the artwork, uh, you see how quickly you can throw out of whack when you knew doing this? Okay, so that's how you outta grading amount, you turn them on and off. Interestingly enough, you also apply, um, nice styles to them. So, you know, we can get into that in the nets in the next video as to how how crazy things could get if you want to go that Ah, but again, just touching on the set up of this coverage of Michael Italy is here. That's that. Okay, if we look at this grade it map. We've got quite a nice see have dictated where these colors are coming in. Um, you can get really specific to and and saying, You know, you only want a thin strip of color in a very specific area off the value range. It's very little of this color showing up only showing up in the outlines here. If I turned the wings on, you can see again using a very similar color to what was in the 1st 1 the Lache off the mid range and then, um, less of the light light range. So the close of these boxes are together, the more you're going to define, um, define the different color. Space is more and more so, You know, if we turn on this rainbow like it wuz look at all these little bars of color and you can add loads of colors in here, and it will get really, really psychedelic very quickly. Okay, so that's one example. Let's go to this one. Also, I was a lot of fun. It's gonna make it full screen, so I'm not distracted. So we have to produce. We have, um, black and White base. Okay, I actually did way more detail than I normally do because I knew it's gonna be such a crazy detail. Piece on, then we have the color, um, coming through here. And then we bought a detailed letter coming through here. So if I turn that went off and open it up, do you turn my phone? And individually, I wasn't pretty complex matter masking happening in here. Uh, just as that'll get through in tune to the next video. But remembering the inspiration color schemes for this the first and most important grade it meant that it put on was this warm, yellow radiant map. Okay, so we've got our doc. These a nicely, evenly spaced. So you've got we know from our value study we've got on Ah, a wide, widely contrasting piece. And you're seeing that reflected in the Grady int map as well. So we've got our rich dark, dark brown. You've got our coppery Bernie colors, warm yellows and then slightly off white. I often find that if you leave, if you don't put your great aunt maps to the dark, it's dark. And the lightest light leaves up to the details stage. Okay? Because you can always push it further in a detail stage. if you put it, Put your most extremes in here. Um, you kind of can't go any further. You can't Anything nice of them than white. Um, on you can't go any darker than black. So try and give yourself a little bit of wiggle room. No, it's not a huge amount for you being able to add that detail in at those final painting stages. Okay, on you can see here how moving the little control is going to effect the artwork. So we're reducing the value here. We're reducing the contrast, uh, turning up the light, so to speak. Well, we're taking it down on giving more space to those darker values. Okay. And if you don't want this color on here, you can simply drag it off. Like I I am clicking on dragging at this point, um, and holding it. So I put it back. If I decided, Talk to, um, saying here. Okay. And then again, if you want to tweak that color, it's not quite right. You can maybe make it more of a lemony yellow. See what that does. Okay, um, move it around on that color scheme, you have a huge amount of flexibility in here. Similarly, if you have a color, great amount that you love, you can just, um you can say that about a lot of them saved in here. Ah, you could give it a name on. Then you just hit new and in a plonk and into your interpolate here. Believe you can then drag and drop. It's wherever you want it. This would also be where you would import, um, greater maps that you have downloaded. Okay, Um, on, Obviously, in these folders we've got options for different color schemes. So depends a lot on that one. So this is our yellow based yellow. I don't see you could almost finish it like that, right? I think it looks pretty good, but I knew I wanted to bring in those cool, coppery colors. So this one, I I did radiant. A mess, the heck out of it. But you can see the Grady amount again is even the space across that value feels OK. So it's I'm asked if I if I disable this mask, you can see how much this changes the image. Okay, So that's what I was saying. They were. If you want Teoh, If you're struggling to get your great aunt map to cooperate because you're trying to work within those, um, small, narrow areas off the value field, then consider masking areas out okay, because it can get really difficult to fiddle on pinpoint exact sort of area that you want to to change the color in on. Of course, you get this mixing color effect as well. So when you run into that, that's where I'm asking is going to come in. And then finally I brightened up the Reds is very subtle change, um, on this one, and you can see the, uh, radiant map here. And if I turn the mask off, it is completely know, Know what I would want for this colors game? Okay. But I'm just getting a bit more control, a bit more sort of rosy red on certain areas. To be honest, I could probably have gotten away with not having up. But I can get really anal about these things sometimes on then that this is a detail there that I'm flicking on and off. Okay, So and this is what I was saying about, um allowing you space to put your rightist whites in. We didn't have this white inaug radiant month. I was able to paint not in after I had my great aunt maps set in. So I was able to push that color scheme even further. And I think that's really important to do that in the painting stage because it brings it all together, um, and just gives you that flexibility as an artist, um, to to add that extra level of detail into the piece. So that explains some of the great maps that we're seeing in here. I'll just quickly go through a couple of more just so you can see how it effects on different artworks on, as they were saying earlier, that this is a really good opportunity for you to be able to explore different color schemes very, very quickly. If you've got that black and white ah value study in, then you can explore to your heart's content and it's not taking much time. So with this one, as I mentioned earlier, very subtle, very limited or restricted value field on this is the color layer. This is one great map on it. Turn these guys off. So this is super simple, right? Like, uh, this was I thought about trying to complicate it even further. But to be honest with you, I knew that my color layer, which I'll show you in a minute, um, was gonna be able to take me where I needed to go. So because this was such a low contrast piece, I didn't need to explore so much within the radiant map. And because it's such a low contrast peace were were hardly seeing any of this darkest dark , right? It's so it's hardly showing up in the eyes. Um, museum in here, did you? There. You see how people has just got a tad lighter? A doctor. Okay, um, so that's how detailed you can get with this Grady amount. How much you can cause it to effect a lot or a little. Ah, I believe I used one of these basic grade it maps and then edited it for what I needed it to be. So we can shift this and suddenly start to get more, more high contrast, but you can see also, it's not doing anything in certain areas because it's not got the values to do it. There's very few value is very low value in here. So I'm not getting a huge amount of results in certain areas within the dark area. Know much of something because I don't have any dark colors. I don't have any dark values. I should say, Um, so that's sort of stresses that importance off. Having that value study down, um, an accurate to your artwork. And then we can explore from the click around, see what suits. I believe this was one that I was tempted by as well. However, I knew this piece is going to be printed on. I know this lovely violet violet color, which I love does not print very well. It looks amazing in RGB. And then it fails you completely when you burned it. So, um yeah, and here Here's what Also an example off. Um, this has got the It's almost white. Believe yes, close to white. You see, it's not quite right in the corner. Um, so I believe I probably went with this one and then took the white out so that I could add a in later as part of the artwork. So very basic. Radiant Mark on there. It didn't mascot or anything. Um, I added color on top of that. They used that as my base to work from. Okay, um, in the next video, we'll tow will touch on, uh, not both mask ingredient maps. And also using the color layer. When I said color, I mean actual color layer style in furnish up, um, to get ah additional police into your artwork on do us very quickly. This one here. Same premise. You are black and white base. Um, she's here, and then we have a color rough that mean because a pretty extreme in this one, right? Like they are pretty Poppy. Um, I had a really strong idea, and I'm looking forward to showing the final artwork for this piece. Um, I just didn't get these out. The way you can see the masked artwork. So turn it off. We have five must. But so this was one of the more complex Want us? I've got four radiant maps going on here. One for the background, one for her closing one for her quiz. Agrees Wings. And then one Well, her skin. Okay, so very subtle colors coming in here. Um, if I disable the masks on here. You're gonna see what happens. So they they all start to interfere with each other because this one and this bottom one has basically reduced the value of the artwork. Okay. Low lowered the contrast. The 2nd 1 did the same, you know? So we having a cumulative effect off radiant maps, One on top of the other. Which is why we need team. Ask them out. Andi. That's what we're going to get into in the next video, so follow alone. 7. Masking Multiple Gradient Maps: right. So in this next video, we're going to cover how to mask radiant maps so that you can use multiple maps in order to add some variety to your color scheme to your color scheme. So what we covered in the last video was getting to this fucking want stage on exploring the great map to being able to add at a great map onto the artwork. As I explained to some of these artworks that I've been working on, um, in some circumstances, I want to different, like a different color scheme. So, uh, what works for, say the skin tone or for the costume doesn't work for other parts of the image. Now what you'll see happen is that if, say, you find a good, radiant Max for one part of the image such as this one, uh, if you then decide to okay, we're gonna change the color of the wings and out another Grady INT map. They all start to affect each other over time, so they have a compounding effects. If I keep on adding another grading Matt, you'll see that they're not having the effect that they would have if they were isolated on their own because now they're reading the values off the same beneath it. It's no ignoring the grade in math, so this great map on its own is showing the values as it should. But as you, uh, enable the other maps Binny's, they start to affect each other. So the way to get around that is to use the mask tool, and the mass tool is available for quite a lot off things in the layers palette, you can mask almost anything, which, if you can keep track of your masks, you can do quite a lot of flexible things with it. So I'm just gonna delete these must I have here, um, so knowing that I want three different color schemes for this piece, I want a background color scheme. I want a color skiing for the figure, and I want a color scheme for the wings, and I want those radiant maps and not to interact with each other not to disturb each other . So what I'll do is quick down to my base layer and add a new radiant map has read it before . Andi, I'm actually going to take them out that I had created previously unjust Make it new. It's gonna get to the bottom of the pile here, on and on my new, radiant Mac. I'm gonna go select migrating map. So this is my background, my background colors that I want to start with now in order to mask out everything else is multiple ways you can mask. First thing to do when you want to mask is you see this little selection thing is selected on ingredient. We want to be selected onto the mask itself to make sure that the white lines surrounding that area, then, depending on what you'll you prefer to use, or the complexity of the artwork you can mask in multiple ways. So when you flip to the mask area, you'll see how the color palette switches from whatever you had to black and white. Because basically, when you're masking, you are using just tones of black and white and in any great own between them. So why it means that everything is risible. Black means that you're basically creating a hole in the light of your your turning off those parts, or it's going to show what's underneath, so I'll give you an example of that. I've got a brush tool selected. Put it to 100% capacity on make it bigger and you can see as a brush a black area tears in the mask. And that is basically creating what I think of as a whole in the artwork showing through what's underneath. So you can either use a brush tool as I am doing here. Or you can use the last you tool, which is over in the top corner here. This works well, for if you have a really defined line that you want Teoh, define section that you want to a mask off so you can create a selection and then shift click to add to it. If it's a benefits more complicated. So you drawing around it. Oh, and you can also remove from it by Ault all cooking. Um, you know, and then you removing from your selection. Once you have your selection in place, you can fill with black. So, um what? I use a lot of short cuts. So basically, I'm gonna put my black to the background color on and hit command. Delete on that fills it with black. Okay, It's again. We create a hole in the artwork messing away What we don't want to show. So if I do this quickly, I want Teoh. Only have this great map showing on the background now. Another option is if you have created your artwork based off of, um, selections. Uh, so I don't Here I thought, for example, a layer all clicking on a layer. By the way, on the I too will show you just that layers. So I have the wings isolated. If I command click on the layer, you'll see a little dotted line around the finger. It'll there that will now select that layer on. I can go to my grading map musk on, um, cause it to mask its no immediately obvious. Obviously I had done already, but it's got that mask in place. And then we're feeling with black. Okay, another option, because there's multiple ways of doing the same thing. And voter shop. If we reset this toe white, you have a selection already made use else where you can take that musk. Um, with that selection on holding out all key, drag the mask to just some nail the blank From now on, it emotion magically replaces it. Okay, so that's really Hunde as you get further into this process. So now we have the background Radiant map. Jeez, are certainly cover. Um, I just name them because if you get a complicated composition, someone's you can whose track of watch What is what is signifying each thing Onda cooking morning. Often getting confused for this idea. Eso we've got the sand in now. Um, I wanted to the wing the wings, so I'm going Teoh, Um, you can do this two ways. You can either create your selection first or you can create a greedy it mouth first. It doesn't really matter. So I'm gonna just quickly create my my wing selection, okay? Using the last U two, we'll create a new great map because I did the selection first, it automatically Mastic for me. Okay, So so that you can do it after or after you've created a great match or before. It doesn't really matter, but spend so you want to use that process. So again we'll show Look at my old Oh, grating that it is the wings. I mean, this is a bit unusual, cause I wouldn't normally in your location. Not going to be having an existing radiant maps you're gonna be creating alone. Um, so I got my wings here, which is currently on the default grading math. It's in my settings. Gonna apply the blue one on. I was being lazy, so I'm gonna just quickly brush out using black 100% luck. Of course, if you want to blend edges of the grating Marcus, well, you can buy by making your brush 50% for example. And then those colors are going to start mixing with each other. Eso If you don't want a hard line between between grading maps, then you can explore that with a fuzzy edged brush or, um, yeah, of 50% or past. So we know about the wings and milk colon wings. And then we've watched figure to add. So I'll do this now. The other way is ahead. Before so grating Mac, it's going to go over the whole thing. I'll go find my figure. Great. In which was the same one? Almost exactly the same. You got it. A new one did the selective here. Okay, so you can see it's not just its ah interfering with our other grade eight months and then because I have the figure of mask already, I'm just gonna repeat that so you can see how you could UK and less. So now we've got He's my stuff, you know? She sees the silhouette right there. Okay. Wings of masked off on the send background is master off, and they're not interfering with each other. You can say go onto the wings layer on, hang in and in some cases, old effect. Um, the math Maskell. In other cases, it won't, so you can add some variety. This is what I end up doing is starting to painting variety between the color mask. I'm sorry. Colors games on your great it maps. Um, you can start to tie them all together. Okay, So that covers a fairly simple masking technique. Very simple. Collis games. Um, just to go into a slightly more complex one. I remember how I did this one because this one was really complicated. We have, uh, the it's complicated, but not complicated at the same time. So we've got a yellow radiant mark here on then, because this is a sort of small composition. You're not really able to see what the mask is affecting. But we've got a bluish, radiant Matt. And as you can see by the mask here, the the bluish Grady amount The cool layer is almost all black in the mask section. So only small portions of this musk Oh, of this mask, Mac is visible, um, uncertainly with the red like this. Just if I turn this on walking, just see a little bit of red coming on around here. So if you want to get super sort of in detail with your maps, you can on your masks can, um we can also select these layers and see just how little is actually showing. Um, but we can also edit them later on, you know, and I can draw in. So now I'm on painting white onto the cool mark. Cool. Grading, Matt. Andi Exploring how that might look. OK, but what's nice is that this is not a destructive thing. I'm not painting over anything. I'm not losing anything. I can always undo what I've done. Or if if I need to, I can completely delete the layer mask. Okay, So what I'm doing here is right clicking and I can go either disabled a mask so I can see how it how it effects other things. Or I can delete it entirely if I think that it's not working at all, Okay, And then we can add it back on, because right now, if I default, ingredient met will add with a mask. If you delete it, you'll need to go and urge your mask back in, which is this square with a circle within it. And it will give you a default empty, empty space, and then you it's up to you to start painting in or selecting in, um, the mask. Okay, so just remember that the mask is basically my head. Anyway, I think of it as you're creating a hole within your different transparent layers. Okay? I always think a photo shop was a bit like on animators, different from traditional automatons, transparent layers off tracing paper. So each layer is having different effects, and we're creating holes in this layer of the mask. Okay. And it was the same with this one. This was so lightly, more complicated on just turning off. We have four masks, so we've got a very pale um greenish blue and publish mask. Andi, if I disable that mask, you can see the effect that it has. In fact, if I turn on these on and disable their masks, you can see it has a drastically different effects. Then the end result that we're looking at a moment ago. Okay, despite enable these, uh oops. There you go. So that's how it does look when all the masks and we're going to get it. So if I show you we've got a selection around the background area selection around her costume, you know, so you might want a different color scheme for a costume. We've got a selection around her wings and then her skin tone itself. Okay, So different, Grady. It maps are being applied to different areas. And again, I strongly recommend sort of then painting within these tight selections. Teoh offer a bit of flexibility between between the color schemes onda, uh, working with capacity and things like that because you can paint you can paint with these great amounts to you, which will give you some really interesting effects you might not otherwise have come across. So from this point, um, you the next step sort of work into the final artwork. So this is certainly would be the point where I would be happy to sentence after a client as a conceptual sketch. It's obviously not finished artwork, but it's conceptual sketch. And then, of course, if they come back and say, You know what? If her wings were golden, it's very quick for me to to fiddle with that, you know, and change it without having to repaint massive sections of my artwork and re mask stuff, you know, so we can explore color options very quickly and see what works for the composition without get over committing ourselves. Two massive sections of repainting. Okay, um, so the next video that I'm going to share with you is just gonna cover the final stages of the artwork. As I said in the introduction, I'm not gonna go into a huge amount of detail about how I create, you know, Thea artwork in and of itself and all the techniques that I use, Um, I go into quite depth quite a lot of depths without in my other digital art, uh, tutorial. Um, so this should you can use this as a jumping off point or simply an exploratory exercise. But I'm gonna quickly show you, you know, bought the finish, not works look alike. So you can see how the great map was a crucial tool and not step. So join me along, join along with me and, um hopefully you'll be willing to share that. You finish our work with me as well on skin ship. 8. Finalising Your Artwork: Okay. Welcome to the final video for this radiant map tutorial. Eso were jumping back to the sketch that I did at the beginning stage off this tutorial on just bringing you back around to what I do after I've done the grating maps. So this is a little time lapse that was recorded in photo shop. Um, so you can see on the right hand side, uh, off the panel there the layers panel where I have a skin tone radiant map. Um, which is largely a myth monster off, except for in the face area on. Then I have a blue radiant map which is coming into his. It's actually showing all of the surrounding area, his clothes on his face and what not has been messed off on. Then I have a sort of yellow gold mask on top of that which is coming into the clothing and a little bit into the background. So from here, once I put my great aunt maps in what I'm something to do is just paint in using a layer on color mode since lots of different colors, lots of different mo's, you can apply two layers and they have different effects, mostly modes that I work in this color overlay in color dodge, um, so color mode. Or basically lay down the color that you bought on your brush. Uh, but it will. We will apply the value beneath its arrival in going on as a transom pate, paint layer and hiding. What's underneath it will still show is going on. It's so transparently. So I use this to just embellish my mask. Um, sorry embellished my radiant moves so often I sort of I dropped or sample from the radiant map. Tweaks a policy. And you could see me tweaking it now in the adoptive palate too, right? Um, actually, that power is worth mentioning. It's ah, it's a little add on that I had purchased called Communion Adaptive Palate upper ride the links in the, uh right up for this tutorial. It's not very expensive, but basically we'll see what it's doing. It's changing color as I drop her on. Then if I'm selected, say on a teal color that I move the dials up and down the various sections, you can see that you can also adapt that to whatever you wanted to show. So you can show the previous color saturation complementary. Rather than having to go into the having a color wheel visible, I find it's just for my brain. It really helps, um, to quickly and easily tweak colors within a certain color space. Um, so that's really handy when you were skin tones, for example, and you just want to stay within no brown color space slightly lighter, slightly darker. It's really hunting for that. Um, so what I'm doing, basically, is still I've now gotten overlay Linger going on, and I'm just sort of pushing the contrast of things a bit further than I hard before. So this'll really is where you you can simple the colors that you've used from your grading maps. Makesem darker. Make them like toe, Really push up the values, Um, on stopped details into your artwork. What I'm also doing here is I'm just refining my mask. So I actually use my blue background mask for the color of his eyes. Eso, in order to remain consistent, you know, with the color working within that color scheme that I have set on something colors from the existing color screen steam. And I'm also tweaking the masks that I have just basically refining everything. So, um, tightening up details, something color areas on No, I'm getting into over painting other areas. So I've got a normal mode layer on, and I'm just painting that you can see I'm simply using the colors that are dictated by the great mom on starting to cool and current colors from different areas. But because we've said our color scheme up already. Aiken sample from the existing campus. I'm not pulling colors out of Senator, and I'm working within a dictated color space. So it's all lend up being quite cohesive. So I'm just gonna speed up this video now so that, you know, watching every, uh, every arduous detail. It was about 19 minutes that I was working on this portion of the artworks and whizzing through it. Now, just so you have guys have a quick sense of how it all comes together, But basically, you know, from the rough stages, it's all about adding details, sampling the existing colors. I have set up already, um, on, then slashing out the paint, doing a lot of painting on top off. So yes, you could you know, you're out what could be considered finished. But for what I needed it for was that conceptual idea on then setting up the base off my color scheme on, then going from there, so really jumping off point for my book. And then now I'm gonna run and get into the details off it on. Fix any areas that need fixing often. What I do at this stage is actually flatten the artwork completely. Andi start to use a, um, oil brush which will mix the colors together and start to get rid of any of those harsh lines from my masks. Andi start to make it just look a lot more painterly. So if you guys want, you know, you're welcome to the comments in the comment section off skill share. Teoh. I'm happy to go into this spot in more detail if you wish. Because I sort of skills are changing in the way I do things always changing. So yet in the next little video clip, I'm just gonna show you the final artworks with pieces that we were looking at throughout the tutorial on um Then we'll be done in the final stage of this little tutorial hair and I'm just gonna quickly show you the before and after shots for these artworks that we've been covering eso back in photo shop here on this is obviously the ref our work that was sent off to the client on you can see the final artwork. Just gonna close bra. But easa, um, that was approved. So in regards to come, skiing still pretty similar. Like the background is pretty stage pretty much as it was when it was in the rough. Um, the greens. Obviously there's a lot more detail going on in the Green Wings area here. Um, her outfit color scheme has largely stayed the same on her skin to has she can't say the same. I've just embellished those colors a bit more. So, um, hopefully what you can see from this is that by having that strong base off great matt color schemes, you can really, uh, explore so much further with your artwork and so much more quickly with a lot more flexibility rather than painting all by hand. Um, it will get you started a lot faster. So I use a lot of photo textures in my artwork on then Also do a heck of a lot of over painting on top of that. So that's what you're seeing is a combination off. Um, honey, you know, Han drone base? Um, great, Ma. Then texture sections that are masked off, um, like, create a textures out of multiple different photos that I've taken. Andi. Then I paint finally on top of that to give to give a cohesive look. So with this one, you know, the great aunt Mop phase in the final phase, all sort of came together quite same with this warm color scheme. Basically stayed the same. So, you know, once you got that value layer in values pretty much the same. That I've pushed him a bit further is obviously, you know, I like to leave that the final pushing off the values, the lights and the darks to the finals painting stage. But you can see the summit of similar ROTC. You know, the colors have pretty much stayed the same. I've just added in a lot more details, painted in a lot more areas and obviously added in i textures and other information. So, you know, we've got this lovely rock texture in here. Sparkly textures and the wing textures and unlike but again with that foundation of a really solid value base and then radiant Matt, that really was the least leaping off point for for finishing the artwork. But I finally, with this one, it was a bit different in regards to you had a very simple Grady int map. Um, you know, it was just the one great at Mt. But you can see here on then some color layers to, um, push those variety in colors a bit more. Um, here the details is a bit more subtle, but you still see the core grading color that I used those peachy tones still dictating the artwork. Onda Um, the detail textures have been brought in at a at a later stage, pushing the values as well. So getting the dark Dockers that dark colors even darker on the light colors, even lighter. Which is why I try not to dictate the light light colors so early on so that I can put them in a late stage, usually with a color dodge a lawyer or something like that. So, um, yeah, hopefully this tutorial, uh, has showed you how quickly how easy is to get yourself started. Um, get a nice explore different color schemes of get a nice color scheme in the on it, play around with it, have some fun, um, and also experience a lot of flexibility that that digital offers. You know, I could change these compositions quite quickly in the color scheme that I choose, So thief feel of them would change drastically, depending on how I chose to color them. And that's something that I can explore very easily using that Grady it Matt Toole on using the value color system. So I hope you've enjoyed yourself. Um, as I said, their resources that there's only a few results losses for this tutorial, but that I will post them in the length section on. Also in the little comment E section that pops up as you watch, Um, I'm here along the time. If you have any questions actual about what I'm doing, um, or if you get stuck at your end on, then I would love to see the artwork that you create, whether you've chosen to just explore something very simple like this, spears or cubes to explore how the great networks, or if you want to explore something like more of a finished composition. So you're welcome to submit and not work like this, which I would consider sort of being at the rough stage. Or if you really want to go whole hog than finish the artwork completely, um, on. You know, you always watch that other video that I have, which is give bring more epic to your digital art that will go into detail about how I create these textures on create this light effect and things like that. So you're welcome to submit that as well. Eso Yeah, I'm here if you need any help, Andi, hope you have enjoyed this tutorial. I'll see you guys soon.