How to Draw and Paint a Robot Arm - Sketch to Color | Robert Marzullo | Skillshare

How to Draw and Paint a Robot Arm - Sketch to Color

Robert Marzullo, Online instructor of Figure Drawing and Comic Art

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19 Lessons (3h 8m)
    • 1. SS Intro Video

    • 2. L1 Setting Up the Canvas

    • 3. L2 Using Basic Shapes to Design an Robot Arm

    • 4. L3 Adding More Depth to Our Robot Arm

    • 5. L4 Cleaning up the Line Work Part 1

    • 6. L5 Cleaning up the Line Work Part 2

    • 7. L6 Applying the Base Color and Light Source

    • 8. L7 Applying the Shadows Part 1

    • 9. L8 Applying the Shadows Part 2

    • 10. L9 Applying the Shadows Part 3

    • 11. L10 Applying the Shadows Part 4

    • 12. L11 Applying the Highlights

    • 13. L12 Using a Mood Board for Ideas and Inspiration

    • 14. L13 Applying Texture From Our Mood Board Reference

    • 15. L14 Applying Texture From Our Mood Board Reference Part 2

    • 16. L15 Overpainting Part 1

    • 17. L16 Overpainting Part 2

    • 18. L17 Adding Lights to Our Robot Armor

    • 19. L18 Adding Markings to Our Robot Arm


About This Class

Welcome to my class, “How to Draw and Paint a Robot Arm - Sketch to Color.”


In this class you will learn how to use basic shapes to design this concept. This can be a great
way for beginners to build confidence in drawing more complex designs.

After we have drawn the initial design you will learn how to add digital paint and textures to create
these effects. I will show you how to use a Mood Board to draw inspiration and ideas from. This can
be a very helpful part to the creative process and many professionals do this in their daily routine.

You will learn how to implement parts of this mood board into your own digital painting. You will also
Learn how to overlay textures to make your paintings look and feel more realistic.

Things you can expect to learn from this class -

Designing with Primitive Shapes
Refining your Sketch
Using Clean Line Work to Make Selections
How to Use Blending Modes
Painting in Light and Shadow
Using a Mood Board to Spark Creativity
Creating Lighting Effects

By the end of this class you will have a better understanding of what goes into creating fun and imaginative
Digital paintings of Robots, Cyborgs, and other Cool Character Designs. This is the first class to a full series on this subject.

I am using Clip Studio Paint to teach these lessons but you are welcome to use other programs such as Photoshop or Procreate. I teach this in a way that is cross platform.

I would love to know what you think of this class and I can’t wait to see your ART!

Thank you for considering my content and good luck with your studies.


Robert A. Marzullo
Ram Studios Comics


1. SS Intro Video: Welcome back, everyone. My name is Robert from ramp Studio Comics, and today's class will be teaching you how to draw and paint robot arm. So this class is designed for beginners, where I'm gonna teach you how to use basic primitive shapes to build up upon your design and ultimately refine the sketch into clean line work. You're gonna learn methods for cleaning up the line work and how to use that line work to define selections. Now I'll be using clips, studio paint, but you're welcome to use procreate Photoshopped. I try to teach us in a way that's cross platform. The main thing is we'll be using layers blending mode selections, things of that nature. I'll make sure that you have access to all the different files I used throughout this class . And once we have the initial pain in place, I'm gonna show you how to use a mood board to gain inspiration and ideas from. This is so important because if you ever have mental blocks and you just can't seem to create or come up with these need ideas, a mood board can really help you out there. Lots of professionals utilize this and It's really great for team settings as well. So you put up this mood board. You take snippets and bits and pieces from it, but you create your own imaginative work of art. This allows you to not worry about lending too heavily on somebody else's ideas, but again gaining inspiration and ideas for your own art that will ultimately make it better and more polished. So I'll show you how to bits and pieces of that. I'll show you how to build up the paintwork and get something more detailed and effectively more professional. So I hope you're excited. Learn these lessons. Keep in mind that this is actually classle time with other classes. So by the end of the series of lessons, you will have everything you need to create fully detailed illustration again robots, cyborgs and other cool character designs. So let me know what you think of a class content. I'm excited to see your work as always, keep drawn, keep having fun, and I will talk to you soon. 2. L1 Setting Up the Canvas: Okay, so welcome back. So what we're gonna be doing here is ah, starting off with the drawing process. Now I want to let you know you can use any software you want. I'm gonna be using clips, studio pain. And I also thought about maybe not even showing the interface. But I want to make it easier for people that might be using this. And you've got to remember a lot of these Softwares are starting to kind of culminate together as faras. There's a lot of cross platform talk, you know, layers air pretty much the same these days. Some have blending modes within the layer. Some have blending modes within specific specific brushes. So if you go to like the painterly style, sometimes you confined depending on the brush type. Let's go with the airbrushed type. So you gotta blending mode, that selectable right in there, some support that some don't. Most of them do. Now. They're really starting to adapt from one another. So try not to think about the software and go. I can't follow along so I don't have that particular software. It doesn't really work like that. You just have to be you know, a little bit versatile. You gotta think on your feet a little bit. Um but I'll try to explain those things that are a cross platform from a few of the major ones like Photoshopped procreate, whatever you might be using. But really, what I want you to focus upon with this course in the series of lessons is how to draw and then how to build up paint to make you know these cool creations for you know, whether it's game are or your own character designs are you know, whatever your application is for it, The main thing is that you just look at the fundamental process. Even if you're working with, you know, pen and ink and then markers. There's a lot of somewhere techniques. It just It doesn't always translate perfectly. So I understand there could be some confusion there, but eso this What would be isn't but the thing I want you to pay attention to right now is it 6.9 by 16 at 300 dp I So in this case, you just go file new command, enter control in is again kind of cross platform. I know a lot of software's will like toe do it that way. But you're just gonna put nine inches by 16 inches at 300 resolution. If you want to work at the same canvas size that I'm working out here like, I'm always gonna say it a lot of my lessons. The main thing is that you just get the clarity that you're looking for for the line initially is we're starting the joint process and equally for the painting process. But it's, ah, it's really not that detrimental. You just don't want to put lines down and you see heavy picks elation again. If I zoom up real tight on this, you see, it takes a while before I get to something that's pixelated. And then look at the size relationship to the canvas. That, coupled with how quickly you can maneuver in that canvas without having, you know, hiccups in the video display. So those are things you really want to look at. It's not always, like has to be this size. A general role Thumb is nine by 16 for widescreen it through our DP. I It's just like having in 1920 by 10 80 something like that and then also, I like to work at 11 by 17 inches at 300 dp I because I came up drawing at 11 by 17 comic paper. So there you go. That's just the preliminary to the canvas size. What we're going to do now is jump into the drawing. So let's conclude here, head over to the next lesson and start to draw some designs and talk a little bit about that. 3. L2 Using Basic Shapes to Design an Robot Arm: Okay, so we're going to select a pencil brush. I'm gonna use the darker pencil and see some of settings here. I'll make sure to supply a copy. This brush again. Just look for really the look that you like to draw with. So in my case, I want the thick to thin line, and I want the ability to put down pressure and get a thicker line on. Also, I want a little bit of translucency to the brush, so that's really about it. So what I want to do here is first start with you and draw out some Mom. Some pieces to the puzzle is, as I like to think about it, as so instead of jumping right in and drawing some character, cool robots and fantasy looking, you know, designs of that nature of whatever. I think it's important to just practice the pieces to the puzzle. I do this a lot. I probably do this too much, but I just feel like it always helps me to build confidence, and hopefully it will do the same for you so that when you do go to do those real dynamic shots you already warmed up to the idea. And then you don't put all this composition down the page and get flustered because you know, you haven't worked out some of the smaller kinks in the process, so you could put a grid pattern in the on the screen just by going to view grid. Um, where you can make your own, obviously, by just drawing lines. I'll do that a lot of times. Um but what I want to do here first is just draw out a design eso let me start with something that kind of looks like an arm. I think that's always Ah, an easy one for me to start with and hopefully for you as well. So we'll start with basic primitive shapes. Just a circle. It doesn't have to be a perfect circle, just whatever you can dio cylinder. Actually, I'm more already starting to imagine that I want this to be this arm where it's ah distorted right? Were not confined by the idea of realism for one or even human body types or whatever. So what I'm gonna dio is really distort it. So I'm gonna put this big, elongated form and I'm gonna shorten up the upper portion of the You know, it's not a bicep in a forum, but you know what I mean? Just those areas that we would consider similar to the human body and then maybe some oversized kind of mechanical hand. Okay, so something like this very crude. It doesn't need to be this way. You condone, you know, change it and do whatever you're imagining. But you just just to follow along, start with very primitive shapes and just think about proportions. Think about some basic volume of these shapes of cylinders are easy to draw in perspective . A circle is a circle, even though we're picturing more of a sphere and then for the hand or kind of thinking This kind of like a mechanical claw with just three fingers and maybe an extra maybe like these , Ah, thumbs on each side. It's almost like a bit alien looking or something like that, right? But again, since it's ah, robot, we can really play around with it and have all sorts of fun, and that's our basic start up. So then I'm gonna tone back the opacity at another layer over top, and you can really just soft to raise this any way you want to do it. But this is a quick way to do it and hit command E or right click on the layer and go with Just merge to lower layer, Merge with layer below Right there. I usually just hit command E. So it just gives us this lighter version at full capacity? No. So what I want to do here is think about some of the design now. So what again? This is just the basic preliminary shapes to get some something on the page. What I was thinking is, like, kind of a shield armor plate over the top here again, I'm gonna start world basic with this Gonna put in some angles, but it's just very crude interpretation of what I want to do later. So think of this like a triangular shaped here in a box shape here with just a little bit of, ah, another trying off the side. So whatever you got to do to put it into place. But also I'm thinking, really is this kind of shoulder, you know, shoulder piece plate that's going over the top. Think like armor of ah, you know, warrior in the night air or something like that. Um, And then for the, you know, the arm portion. Just bring this down. I can emulate a bicep if I want, but I don't want to look too much like a biceps. I'm just gonna cut into it like this. And so this is I'm going for a more segmented look. And then the reason why I like this is because it gives us this opportunity, detail stuff behind it, which I think it's fun looks kind of neat. And also, it makes sense that the the mechanical, you know, thing apparatus machine would be able to move around because these pieces would flow. So, you know, the shoulder plate could easily come over top of, you know, the bicep area. I'll just kind of views and anatomy terms. Just so you understand what I'm talking about and then likewise, like, this could be this kind of gauntlet piece. Again, I'm just going to use these angles over top just to kind of design something. I'll have it narrowed down to here. Cut back this way. Now, that looks like a solid piece over the whole form, which is OK, but I think it might look a little bit better if there's at least one little segmented opening now. The other neat thing about this is we Can we can you put lights in these areas? We could do all sorts of fun stuff, but what happens is that it just allows us to detail behind it, which I really like. Because, for instance, we could even take this one and have it go behind the other piece right here. Take away this this line here. So it's not so, so much of a hard edge. These don't have to be clean curves or corners play around all sorts of variation there as well. So we could just put a shadow here, really. And then all of sudden, it looks like it's, you know, sitting behind that other piece, which is kind of neat. Okay, so now let's what's at the It was claw like hand. I'll just do the back of the the hand area like this, like that, and then I'll throw in these circles shapes and we can add out pieces from there. Another circle kind of represent knuckles. But whatever would control these to move back and forth, forgive me. I don't know the technical terms for the mechanics of it. Let's bring that back. Just so it looks a little bit more interesting like that. It was a little bit more character, I guess. Okay. And you know, we could if we want to look more fierce, we could put points on the end. Right? So it looks more like a, uh, you know, an attack area to the machine, obviously. And so now what I want to do well, going wrap up here. So I just want you to practice this and again. It's really those basic primitive shapes and then shapes on top of shapes, OK, so that you can build up and don't feel like you need to erase this stuff in the background . Yet. I want to show you that when you're sketching, when you're exploring your design, I really want to leave a lot of that sketch information. And there you want lots of ideas to start sparking. So me personally, I like to leave that if you find it confusing and maybe it, you know, just it's not sparking any ideas. It's just making you frustrated and get it out of there. you know you don't want to work through frustration, but let's go and conclude air head over to the next lesson and continue to detail this and come up with more design elements. So with that, let's move on. 4. L3 Adding More Depth to Our Robot Arm: Okay, so now what I'd like to do is make a copy of this. But some, like 10. It's on me. Copy it. This way. Command eat. Emerged that down. So we're on less than three with this. Remember lesson One was just the set up of the canvas. So what I want to do here is I want to start thinking dimensionally about this two d design that we're doing, okay. And that's really what I want to leave the copy. This is really just a very two d looking feeling kind of thing. Obviously we keep drawn through it and make it more three D. But the first thing I think is really good to Dio is to think layers, you know, think about layers going back and forth. So if you were toe, if you were to draw, you know, a prism in perspective are fake perspective and then another one like this. Okay, and maybe one more. You immediately start to get this feeling of depth on the page. Okay? And I don't feel like you need to start drawing perspective lines on something like this, but you have to at least start thinking that way. and maybe intentionally sketching some of those little boxes or something to really you know, your mind into that way of thinking. But primarily if we just start with even like to d layers, right? That's really what we're working with. But we're trying to cheat and make it look like perspective. You just want to start getting things back here behind and on top of this two d representation that we've started. So, for instance, if I I'm kind of picturing dropping that I'm looking at the circle of parents make you want to add a spherical like shape right here and then I might have from that sphere, you know, kind of Ah, a metal, um called a dowel or rod or whatever, but it was kind of a metal shape right there and then maybe some little wires criss crossing around this stuff. Now it's it's gonna get mawr detail than that because I don't want that to just look like a circle in a rectangular shape. I'm gonna put, like, little divides in here. There's gonna be rendering and stuff like that. We'll get to that in a bit, but I am gonna put little details to make it look mawr impressive than just a circle in a cylinder. So work on that as well. And maybe this has an ending here. And as we progress, we're gonna think about things that actually light up and things that how they move, you know, wanna keep thinking about that. Maybe we do another one of those over here. It just makes sense that it would allow the, you know, the mechanics of this to move around so we can try toe emulate, you know, tried Teoh design things that we feel are gonna work, you know, they're gonna be effective and functional. So lots of little wires. I think those air fun and again, it helps me to build in some depth, going back, you know, like this. These pieces start to feel like they're more forward. And then likewise, I want to build some of this stuff or design. I should say that build designed some of this stuff to come towards us more so we might put pieces on top of pieces. So again, it's it's basic shapes. But we just try to design some things that look like they're coming towards the viewer. A little bit more. Some like this. We also want to think about how this this armor is gonna basil. We're going to see certain edges of it that are going to be ah, you know, embezzled and thicker and thinner. You know all this, all these pieces of you again keep represent the two d one. All these pieces, if you were to just draw this and then maybe shaded in him forbid you shaded it all the same way, it would look really flat. It would start to be uninteresting, and that's what we're going for. So we have to just kind of perceive what if the again lack of a better term this bicep piece. Bez Aled up this way. All right. And then it came over this way, and then the bustle got thinner. This this looks kind of silly, but it's better than just being flat. So let me may erase some of this bag. Remember, you can take this brush and go to the translucent box here for using this software. If not, just grab your trusty eraser. Get in here and push this information back. But over. You see that even though I'm not a big fan of that entirely. I'll probably adjust that it looks better than what we have over here, just not so flat, uninteresting, and that's we're building up. These shapes work so you can start with maybe figuring out the the basil of each area, kind of playing around with these different shapes toe embezzling change. Thea. You know the depth of it essentially, and then couple that with some pieces on top of it so that it's not you're breaking up. That two D service is basically what you're doing on. It's a It's a pretty quick method for doing that like it's not something that's extremely time intensive. It immediately gives you more design ideas, I think on you. See, I'm using very primitive shapes to do that. But it's making it again, I think a little more interesting than what we have over here. And you can really take that. As far as you want to know, you need to be careful that I don't know, maybe just don't go too crazy with it. It becomes very confusing to look at, but a lot of times I feel like you have to test the waters you have to push into uncharted territory and then pull it back a bit. So if not, you just won't experiment on our again. That might be subjective to me in the way that I create. But that's what I got to share with you right ago. Share that what works for me. And hopefully it'll work for you back of the hand here. You know, we could do just some shapes like this resemble the way the muscles come down to the knuckles. Or we could try to be a little bit more inventive than that. And we could, you know, throwing some different shapes, Teoh, to this point from different shapes here. You remember. Ah, a lot of times you can make details, you know, make things look more detailed by just cutting into him and adding, you know, kind of a step and repeat pattern. You don't want to make it to repetitive, but you see, just by doing that, so like a line that's, you know, has a little bit different bend to it. It's closer to this one side, so it it kind of makes it feel like there's a little perspective there and then just this little button looking do Hickey thing, whatever it is, But it just immediately makes it look a little more detail, Um, and again play around that and you don't have to stick to the way I'm doing it, but hopefully this will spark some ideas for him. So let's go and conclude here. What I want to do now we'll head over to the next lesson. We'll clean this up a bit and you make some changes. I feel like this. Some peace needs to be adjusted so well, just some things were finding a bit, and I took a little bit about that process. So with that, let's move on to the next lesson. 5. L4 Cleaning up the Line Work Part 1: All right, So now we're gonna clean this stop and say Probably get rid of that 1st 1 Now, I don't think really need that. I just want to show the difference from adding shapes on top of shapes. Ah, and obviously, if you want a more simplistic, smooth, streamlined look, you might go with something like that. But I want there to be a little bit more depth. I kind of want this to be to where I'm gonna add some wear and tear as we get into the pain . So, you know, maybe, like markings and some imperfections, things like that. So I kind of like this more little areas to color and add things to, I guess, want him looking at, though, is I'm not really dig in this part. Appears I'll make a change that I do like the depth that it provides by changing again the silhouette or the perimeter shape. But I feel like, uh, it just looks kind of silly with those two. It looked better in my mind for some reason. But let's try something like this again. We can play around with the bustle or the depth of the materials that could start thinner and it could get take her As it wraps around, we could show the way that it curves around That will add more depth and dimension as well . So like them okay, and we start to get rid of some of this underlying sketch. And as I mentioned, I felt like this area just looks a bit strange. I almost feel like I like that better. Thea extra thumb seemed like a really good idea. Let me try one more time just by Remember this piece, this whole triangular shaped right there needs to be at it first. Then we'll bring this segment down, then over. Yeah, that's better. So it was just out of proportion or out of, ah, alignment. Basically, just remember, if you have a certain area that's out of perspective for, you really want to isolate it, and you could do that pretty easily by selecting and deleting portion or I'm sorry, cutting and pasting pores of it don't believe it. And then just drawing lines across so you can I kind of find perspective like that, like, for instance, this one finger being a pyre. But I like that because you know fingers should not match whenever fingers or two aligned. It always takes away from the, you know, kind of interesting look in nature of something because they're so, um, have so much range of movement. You really want to play around with those always being a little bit off from one another, different orientations, things like that, even with the robots epic. So, you know, keep playing around with these ideas and seeing what I want to do Teoh affect these areas that have already started with, but I think that's about it. So what I'm gonna do now is clean this up a bit. So let's just, you know, we probably have to softer race it. But what's going to do that well, softer race? It's amusing airbrush whose settings for that Just a big soft eraser. And I'm gonna push that information bag. And what I like to do here is just put a layover top that way can really clean this up. And my goal now is to get cleaner line work. So I'm gonna pick something like this. G pen. I'll make sure to share all the brushes inside on attached file for you hands is something thinner because what I'm looking for here is really to kind of, um, crop these areas in. So there's let me just tell you to There's a couple ways to do this. So if you don't like drawing it out again because you're not a big fan of line art or whatever, you know, like trying to clean, create clean line work, you really don't have to. You can really just paint it by color right from this point. OK, but if you're not as advanced with that, I want to teach this in a way where it helps people that are in advance, but the students that are more advanced, you're just gonna kind of skip this step and you can really go. I'll just give you a quick example. You could really just go like this. Remember, your lines don't have to be perfect. I mean, it's based on what you like to see, I guess. But one way to do it is to just draw through it like this. You generally get a little bit cleaner lines when you draw through and come back in a racy overlaps, but again depends on how you like to do it. You could also segment this piece I'm doing right here. And that could be an entirely different layer. So lots of ways to think about this. But then when you dio is you again a racial overlaps you can zoom in if you want things to be really clean. I try not to worry too much at this stage about perfection or maybe any stage about perfection. Because you're just you want to get really good at editing as you move forward so that you're not stopping and trying to fix every little thing. But I will take the time to race these corners back and say It doesn't take a whole lot of time. You can also take your selection tool in Just grab. I've seen a lot of artists do that. I'll just two races back, and I feel like it takes a long time to do that. I'm not gonna worry about the ones in the middle because you only have to pick a side. You could have picked the inside or outside, but as you see, I picked the outside perimeter to clean up and then I just fill that in. Oh, it was transparent. So I feel that in now you are gonna want to check and make sure that you got a nice clean fill. But that's exactly what I'm looking for. It doesn't. And again, it doesn't have to be perfect. So get rid of the grid here. Now see more clearly and you could really go to painting right from there. OK, so that's one way to do it. I'll tell you the truth. This is the way I do it a lot of times now. The benefit of doing the Leinart version that I'm going to show you is that if you want to do a mix of comic color and digital pain, that's that's a lot easier to Dio. So again, it's really just up to you. But this is another way to do it, and you would piece out all the major components, mainly in the areas you want to really keep that nice, clean refinement of line it because you like your transparent to here and you start to paint and you don't go outside of the confinements of that edge, so I'll show you more techniques in that. But that's that's one of the really the big ones that allows you to paint more effective like that. So what I'm gonna do, like I said, is I want to show you the Leinart version. Just so you got both techniques in front of you and you could do it works the best for you . But in this case, I'm just gonna go through this and clean it up with some refinement. So to keep the line relatively thin, I'm not worried about line. Wait as much as I am line clarity. And again, I'm just going to kind of shoot past those areas. Sometimes it helps to, uh, rotate canvas, hold our You can rotate that around, get some of this stuff. That's right. Get a little bit of the basil design as I do this as well. I bring that up in just a little slant over, and a lot of times I kind of throw the line, because if I if I go slower, but that one came up pretty good. But generally, if I go to slow, I'll start to get, you know, some bumps in the line. Something like that. Okay, I've done this for a while, So my hand control pretty darn good. Even going slower, I would say, because you've done it for a long time. But if you're not, you want to throw the line and then clean up your edges. One of the things that kind of pointed me to this if you're not using, I'm using its antique. But if you're not, I notice a lot of people that use Thea a lot of amazing artists. I should say that that I admire that. Use the tools tablets or something like those They do a lot more off the line throwing because it works better, I think, with the mechanics of the tablet and how that the functionality of the tablet. Um so just keep that in mind. If you really struggle to get these lines way that you want, you're gonna try to vary up the speed The England, which you create them. Uh, you're gonna throw the line, so that means you use more your I went to your shoulder like a painter does. But more of your ah, you know your elbow to your wrist. You're gonna kind of flick your your form a little bit more. It takes some practice, so don't don't think you're gonna get it. The first couple tries, but it does work. And again, generally, when you go past that line and you come back and clean it up, it just seems to look nicer. For some reason, I think it's because of the fact that the lines are ending point to point. So it gives it a nicer look. You want that a little bit of thick that then now I would be going for Maura that if this was my end result, was gonna be a more of a comic style color. You know what? I made a mistake here. I brought this line too far over. So again, here's that part I'm talking about, you know, just being able to add it. So I recognize it. That doesn't look as good. I'll just select from I want to get right to that corner bead shifting angle there and and try to get right to hear. Select that. Let's try at it. Transform free transform. And my only goal really is to maneuver this down. Keep that in the same spots. I just use that one control point to do that and then hit OK and de select. Yeah, I think that's a bit better, you know, to go back to Black. Well, that little gap in to try to make sure that my, um, everything's filled on the perimeter side because I might use these for our will be using these for selections. So again, you gotta just make sure that it's relatively clean. Ah, in this case, I'm just cleaning up this outside edge. Now, the other thing is this. If you keep the lines thinner, it's easier to discern, You know where the what the shape action looks like. So again, if you go with comic style, uh, designed, then you can go with a lot thicker. And I was still pretty neat, but since we're gonna go with a lot more pain, I keep the lines thinner so that I can see the shapes a bit more clearly. So hopefully that makes sense for you. Um, so it's I don't really need a whole lot of this, but I'll throw it in there just to kind of keep painting the visual idea here. Uh, likewise. I really don't need this. Well, you know what I should say. Yes, I do need this because once we get rid of that sketch, we want to be able to see this more clearly. So we'll say we do need this, but he really could just keep working off the sketch. But I'm part of this is to make sure that these sketches, the ideas from the sketch, are, um, decided upon. So that's that's really want to get rid of this. I want to be able to see the ideas that I chose for the side design. So it's work down to the bias up here again. We're gonna keep this line, then we'll do all the, uh, the foreground plate elements. First, we can kind of play around throwing these lines, play around with, you know, maybe adding little bits of curve to the edges of the basil's here, eso that everything is not just you don't want to get the habit of just end to end, to end. Everything's flattened like that. It's gonna it's gonna keep it. It's gonna feel a bit more boring. But if you play around with just little shifts in the the angles of the corners, you can generally make it look in my opinion, on a bit more interesting and fun right over. You could also fix these corners as you go. So maybe that's a bit faster for your less frustrating. Generally tried to Ah, those job fades off. The point looks faded. If I stop it right there and I bring it over to there, it just sends out a little bit. So let's try it where I shoot past this. That's pretty close to try that and then again past this and see the difference. Yeah, this think it looks more interesting. Looks more robot like anyways, cause get that that added point. But also not the point where it's too thin. Now, I think that thinning out looks looks a bit strange. Okay, so there's that bicep piece. Hey, let's get this, uh, part right here. Can I was too that you condone. Get a nice straight line with, uh, with throwing it as well. I think it helps with straight lines and curves. Ah, good practice activity for you if you struggle to do this. So So you're trying to follow along, and, you know, you're just not getting this, you see? And let me point this out to, like, right here. I'm trying to start here and throw it there I got at that time, but what did it take me through four tries? I remember I've been doing this for years and it still takes, you know, warming up and tries. But I'd probably get it the first or second time by going through that area. Or maybe I won't let's try it from a little bit further away. But the thing that I want you to see is that a lot of times when you throw these lines like this, you'll have a little bit of curve in this air. But the middle will be kind of smooth, so you have to think about things like that. You might need to start way up here, throw that line, and that's the one I wanted right there. So it's with a little bit more thickness down here, but that's fine. So again, it's It's also thinking about what the line looks like in certain areas, so you might throw pass it just to get that middle. And I know it's a lot to think about, but, um, I think it's a lot of times it's helpful to point this out because, um, when you see somebody end result, you just see this amazing line work. You kind of perceived that they just went like this, like this, like this. Maybe they did. They might have developed their hands skill to do that. But there's other times when it's something else, it's it's the fact that they're they're throwing and utilizing lines in a way that you weren't really thinking about on. That's why at the end result, it looks Sony because you're thinking about the mechanics and the way they created him. So just like that, throw those and it picks up speed. Now some people get really good at just drawing the selection as well. So that's something else that's helpful to, you know, to know and for you to practice. I personally, I don't I don't feel that that works as well for me with this selection tool. But it's again. It's something to think about so you might play around with just selecting and filling. Now the good thing is, when you get good at that, it's really, really fast. But I like a little bit more control and again I want to teach you in the way that I typically create, so it's going to conclude here, head over to the next lesson and continue to drop in our line work. So with that, let's move on. 6. L5 Cleaning up the Line Work Part 2: All right, so now we're gonna continue on to clean up the sign work. But what I also want to show you is that helpful to pay attention to these layers and groups of this Ah, again is in almost every software I can think of Photoshopped procreate there set up a bit differently, but it's pretty easy to figure out. The folders are like this. The raster layers, which are image base, is what we're using now. Eso What we want to do is create a folder, and I'm actually going to put l four. So this is the content that we created from less and four Just gonna drag that into there. And I can now condense that down, which saves visual space right here and keeps everything organized. I could take the visibility off of one for each of these. Okay, so this is our for rough sketch that we're working from. You just double click the layer type in there. Hit, enter. Okay, so let's go in. Right click here. Do you put duplicate layer? But it's duplicating the group and everything in it. And now I'm gonna turn this into our lesson. Five. We continue to clean this up and we could take the visibility off this one. So we're not seeing double and again we could really keep these l four. Um, but it doesn't matter. You could switch them. If that's confusing for you, we'll call this L five for the cleanup line work. L four could say the same because it's still the same sketch we're using previously. But we're now we're into a level five or less than five of cleaning up the landlord. So again, groups and layers can be really beneficial when you start to get into this stuff and you wanna some people like to work off one layer. Some people like to work off a layer for every single thing. It's just a different method. And, uh, I don't know that one's right ones wrong, but there's pros and cons to each. So again, let's jump back into this sort of throwing some lines through here, almost picture right here, kind of like how this curves. It's also compounding curve. So when I say that, I mean, can it comes to here? Been here? I think I like that. Maybe it needs to be a little bit more extreme, so that doesn't look like a mistake. Sometimes that's the You know, sometimes subtlety is a great thing, right? And then other times, you have to make sure that it doesn't just look like a you know, like I said a mistake or something, you weren't really intending. But sometimes things you weren't attending become the neatest things of the illustration as well. So, like that. Okay. And let's hold our rotate this around again. I want to play around with kind of rounding these edges a little bit. I think that is going to look a little bit better in these areas. And let me also say this hopefully, you know, you understand that I'm trying to teach you how to do this in a way where you can hopefully get past any areas that have been problematic for you. But I also want to let you know that if your selections in your line work, because these ultimately be selections here shortly. If these aren't as clean as you you hope for, don't let that hold you back from creating. Okay? So the main thing is that we just continue on creating regardless off, you know, where we're at in comparison to other artists. Okay, So the races against yourself, you're gonna hear me always say that it's okay to study from other artists that are more advanced and, you know, kind of hold ourselves to a higher standard to try to get better, but not to the point where it slows down our productivity at all. So that's a bad thing, right? That's why comparison could be a really tricky thing all the way around that you want to be competitive because, you know, work is competitive. Things like that. You want to get the job. So you got to be better than the, you know, as good or better than the other artists, right to get the work. So you have to think in competitive terms that way. But if it's if it's stopping, you're freezing you from creating that, then get it out of your mind. It's not worth it, because you're going to get better by just creating so even if you work isn't as clean as it needs to be or you know by comparison. If that's the way you're looking at it, don't let it slowly down from creating cause ultimately will get better each time, Maybe not every single specific time. But as you keep creating, you get better and better, better become easier and easier. So just really, always pay attention to that. And then also, the other thing I would say to that is, You know, you have to remember that if you're maybe your line work doesn't come out as clean. Okay, But you learned to compensate by your editing. So you're editing gets really good. Okay, So some people can put down a really good line right from the start, and it seems effortless, you know, And then other people, they don't put down the greatest primary shapes for their illustration, but they get so awfully good at editing and refining through the the painting process that you would never know. So I think that's something I picked up on quite a bit when I would watch really advanced painters. Wow, they their sketches so messy in the beginning. But it doesn't matter. They get you can't so good at painting that they don't need that refined sketch. And I admit I'm refining this a bit mawr because again, I want these lessons to be Mawr versatile for your more, you know, help on array of people. So some people again are going to be better at working from that rough sketch, and it's not gonna bother them. Other students and artists are going toe want more refinement on the page s so that it's easier for them to process. And like, for instance, if you get a you know, a bunch of this clean design down becomes, in my sense, my mind. It becomes easier to paint because I'm not worried about you know where the edges are anymore. I can. I just, you know, kind of jump into painting and have fun with that. Let lose other people again. They might need a rougher style toe work from s so that they can make those executive decisions as they're paying. It might have more fun and become more creative in that that moment. So just try variations all these things, and hopefully you will ah, you know, figure out what works for you. So again, I'm gonna get in here. I'm gonna make some different decisions here since I feel like I didn't refine this enough and I don't really want to jump back in to redraw it. But what I want to see here is just ah, you know, this kind of plating from the back of a hand and opening there. I like the some circular shape, and then at the next piece, these need to look like they're perspectively going away from the viewer. So I'll show a bit of the bustle here, come down. Kind of like that back that little back Ben piece that I added again, This doesn't have to be to define, because when we go to paint weaken, we connected it. So that's that's really what I'm getting at, Like a lot of this is still subject to change, but, you know, get most that idea in place. That's great. Each time when I do this next segment, I'm just taking and making sure that you see a little bit less of that next piece. So that looks like it's ah, you know, kind of receding away from our view a little bit. Hopefully, that's I hope I'm getting that effect there, and I do think I like the little sharp point right there. Be Fonda. Make it look a little bit more dangerous. Mike that even. And then I think I like the shift in the angle here. I think this material is to come back this way. All right. Someone has throw this one in the time lapse just cause it's redundant. And I don't want to bore you with the same old, uh, stuff over and over. So again, just really cleaning this up, making with some decisions. And let me let me tell you to If you feel like you're trying to do this type of rendering from a rough sketch to a little bit cleaner version of line work so going right to more of a final decision of shapes in essence and it's not feeling correct, just allow yourself a sketch or tomb or of refinement s. So there's a lot of pieces where I will go from a rough sketch to even two or three refinements. I definitely have to do this with faces when I'm trying to capture certain expressions or a certain continuity from face to face, you know, in storytelling. So those are things that generally have to draw over and over even hands. Now, in this particular case, I'm kind of jumping past that But this is a very creative hand. There's a lot of angles. I typically do better with angles. So again, I just want to, you know, alleviate your thought process and say, If you don't feel like you're able to get to this level of refinement this quickly, do not stress about it. Do not worry about it. It happens naturally over time. Uh, and if you need an extra stage or two of sketching over your rough sketch and by all means , take it. But I do recommend that you practice, so this is basically like going to ink for me. OK, so I'm using a salad G pen at this point, cheating and using some shapes here. So that's Ah, that's allowed as well, and I'm using an ink pen, and there's times that I will draw just with pink. Okay, so that's another exercise, another practice activity that I want you to dio on. Maybe we'll delve into that's Amore in some future lessons. But you know, drawing with Just Inc allows you to really get the best ideas down quickly, its almost like gesture drawing for figure drawing. And it's making those immediate decisions and part of it is you have to really let go. Okay, so you have to, like, be messy with it. Now, in this case, we're using the rough sketch to clean up the line work. So it's a little bit less Messi. You know, it's There's definitely some good foundational information there to rely upon. Here you see me jumping back to the rough sketch and actually changing some pieces and making some other decisions because I didn't like the initial designs. Eso that's still an option. That's that's a second basically a second revision of that area and sketching so so again. Make sure to allow yourself and as many revisions as you need to get to a level or fine, but they're happy with. But then also practice drawing with just Straight Inc or one revision and really pay attention to the different decisions you make from the different variations in which you create. I think that's an important lesson for all of us. So with that, let's move on to the next lesson 7. L6 Applying the Base Color and Light Source: So now we've got all our line work and you again You really don't have to go this far. I think I've mentioned that you don't have to do a lot of the interior stuff. You can really rely on your sketch to do that or to show you that. But this is just like going the extra mile and making it really easy for the paint process . So again, if you're a little bit more at home drawing than painting, then this is for you. If not, if you're more home than painting and drawing, you're just gonna give some basic permanent shapes a rough sketch and go right to painting . Okay, so now we can go and take this. Let's create one more group. Another group called this l six and what we'll do is we'll take our to line works here kind of did this out of order. I could have just duplicated the group and renamed. It would have been easier. I'm gonna drag that over there, will give me copies of each. And I could drag those up to here now. Was the other one this one? Yeah. Line second layer sits back earlier, so Yeah, it would have been easier to do it the other way, but hey, tomato, tomato, right, that even applies. Okay, so there's, you know, are three layers again. Uh, you know what? Yeah, because we just want our line work now, and that's not really okay. You have The other one was visible. I'm like, it's not working, but this one was on, so I turned that off. There we go. So there's our stuff in the background. So really, what we want first is just to isolate this top area. OK, so I'm gonna take the magic wand here, and I'll be honest, I don't really play around the settings here, but there are some settings that you can Ah, just I believe. I think that would be these, right? Yeah. So But it seems to just work right out of the gate, so I select it. Now, you see, this is a pretty easy version of a selection because everything was already segmented. So it's gonna be different for different things that you're trying to obviously select. I wanna hold shift would be back on the magic wand there, hold, shift and select in the middle, right there. So I've got all the middle hold space bar to move around by dragging on the screen. And then remember, to a lot of these, you can hover over top and we'll give you the shortcut command. Okay, so if you want to learn those, that's easy. Way to do it. But there we go. So we've got our selection Now, remember what I said about you have to make either the inside of the outside the clean line . Now you can probably tell that I made the outside the clean line. It was a couple of bombs here and there. Uh, now, when you keep the lines thin, that's not as big of a deal. But you've got to remember that if you stylized more with your line work, you have to be a little bit more aware of what that selection is gonna do. Sometimes grabbing the inside versus the outside is a pretty big difference with a thick line way. I purposely went with a very thin line weight to avoid any issues like that. So what I'm gonna do now is just create one more layer and I will just call this flood fill . Okay? and I'm just gonna pick a color. And this doesn't really matter what color you picks. I don't worry too much about this, you know, You condone, obviously, you know, look at the numbers down here and pick the exact same color if you want, but I'm just gonna fill this in. So now what? This is for me says effect. So I got a I'm sorry. Command shift, I or selection? Invert selection. Okay, Sorrows. It wasn't painting because I was It would have been painting on the outside of it. So just like that, I can tap that a few times. And there's my you know, Mid Blue. Whatever. Now, the other thing I do recommend is he immediately drop in another layer, and we'll just call this BG color background color. And I put that in the very back of just this group, and I will pick, you know, just something like a I don't know. Great. You just really don't want to paint against white. Mainly, because if you start introducing white highlights, you're not gonna get it. Could read and really color just doesn't read well against white. You need You need it against a mid tone so that everything kind of looks a little bit more appropriate. So just like that, we've got our base color in place, gets background and, you know, you could see we can immediately get rid of line work and that's in place. It looks pretty concise for what I was after, so that's good. I could tone back the line work if I want whatever I need to do there. But I can still use this for selections, obviously, areas in the hand all over cause I made good use of the line work. I can really do a paint by number kind of thing. Ah, and also I can drop in my sketch. If I need to see it a little bit more clearly, I can bring in the rough sketch. Let's bring that up a copy of that. Actually, no, let's Let's really copy that. So it's duplicate that. Bring that up here. So if I need to, I can drop that rough sketch in. I'd actually have to be over the color. Sorry, and I could see a little bit mawr, and I don't think there's much there that I need, though in all honesty so, But again, if you need that, that's another way to do it. Okay, so the road power of this and the reason why this is so important to Dio, especially for beginners. But I would say a lot of advanced artists do this as well. Eyes being able to fill this lock. Transparent pixels can't believe it's like transparent pixels. Click that. You'll see the little icon there and then now everything you paint stays in that confinements. Okay, so that's the That's the starting point. So you can first do some general shading, So take a big brush with a dark blue or black Doesn't matter. This is just to kind of get a new, immediate global feeling to where the light sources OK, so you could do something other side. Generally, things if the light sources up top. Generally, things are gonna get darker as they go to the bottom. So you could take the brush really large and just kind of put this light, Grady, and across the top, if you go too far, you can just select the car top. Gonna make sure this to set the normal mode. If you do it this way so multiplies gonna dark and everything together, So darks will get darker. Lights will get darker, that kind of thing. But normal is gonna give you exactly what you pick for your pain. So if I select by holding all I select appear, then I'm going to be able to brush us all back to blue. Okay, so just like that And then again, if I want to go to dark, you can really just use the dark version X I want to pick. Let's pick this blue and I really want to pick a dark blue. Let's try that they could look a little more natural, but again, this is a global kind of effects. I'm just trying to get a basic starting point. You know, I could obviously get in here and select each area and shade each one of those cause there are some pretty significant plane changes on Let's Talk about that. So basically, when you start to paint something and this is pretty easy to understand, because it's so it's so plain or like it's so angular, not dramatic angles, but through there. So you want to think about playing changes. That's why you'll see a lot of painters talk about painting like a sculptor. So what you're gonna do is you're really gonna first get in here and think about these areas that are shifting away from the light source. Okay, so you could just doing this very crude to kind of explain the point. So they understand we're going with this. You could do something like that. Now, that's not as interesting as I would like it to be. It's a little bit too all over the place, but that's the concept that we're going to start with. We're gonna really get in here, and we're gonna first define the May major plane changes, but they're gonna show you how to make them more subtle. And mawr, uh, you know, professional looking better quality than just that. Because that looks pretty cartoony, pretty blocky, almost like cell shading. And I do like to mix in a little bit associating with my digital painting, but I'm gonna show you how to do this where it looks, you know better than that. So essentially, this gives us our flat colors and our basic global shading defines our light source that are light sources basically over here somewhere. Okay? I don't want to get too specific with it, and it's probably a little bit more on the front surface. So another thing you could do if you really just want to define your light source pretty quickly, take something like, you know, maybe, like add glow are that's probably a little bit to two. Ah, harsh. But I'll just throw in just a quick highlight, right? So just something like that and you can paint over that later doesn't matter. But it just gives you a very specific idea of where your light sources. Now we know the light source is on the front of the model and we'll call it a model in the shadow. Should be to the backside of it. Okay, so it's not so much just left right up, down. You have to think Spiric li about it and this really, you know, kind of shows you that you believe that there for reference and move on. So let's do this. Let's head over to the next lesson. Continue to refine this, and we'll start to drop in our ah, our solid shadows, so to speak. So with that, let's move on to our next lesson. 8. L7 Applying the Shadows Part 1: Okay, so now let's duplicate this group again. You know, just to give you all these incremental files so you can just follow on that way. But this kind of don't want to work. Now, remember, to is your Maybe your groups in your files get a little intense over here. I like to make when I just put back up that track it to the bottom, and then you can click, hold, shift, grab everything below, drag it into here, and then condense it down and save all that space. Then open up the when you're currently working on. This is how do comic book pages advanced digital paintings, All that fun stuff. OK, so now we've got this area right there, right? We've got our lock transparency. And remember that if you want, apply some effects, but you don't be a little bit more apprehensive. And you don't want to apply your shadows like this. Okay? Which isn't a big deal. There's lots of ways to edit. And I do suggest that you practice painting like this on the initial layer as much as possible. You can always make it back. Remember, if all those fails, you can go back to the base color, paint it all back in start fresh. I mean, I know nobody likes to do that, but it is. There's a lot of effects where you're gonna get the most out. Um, by painting on the surface, there are other ones where you need to paint off the surface, but still get this ability to stay within the confinements. Okay, so I'm gonna show you a couple ways to do that real quick. So one way is simply making a new layer grabbing whatever tone you're trying to apply painting it and going right off the surface. Okay, so it looks a little strange. Like, why would you do that? You know, can you stay within the lines round? But, you know, so you do this, you think about your plane changes, okay? And there's a little bit of freedom in this way of painting. So what you do is you just make sure going past the areas of kind of bleeding past. Okay, so let me get some of this in place, and I'll show you. This isn't really the way I'm gonna do it. But I just want to show you there's a lot of artists that do it this way. It does come out very clean When you're done, You can do this with soft shadows, hard at shadows. It doesn't matter. Let's just do it on the forum here. So now I can go over here. I can right click on the flood Fill which, remember, That's the main blue layer. I can go select from layer. Create selection. I can hit command shift I where I can go Selection inverts selected area. That's command shift I or shift command eyes What that means so against inverted hit. Delete Not on that layer. Sorry. Commands he just in case I deleted some edge or something. Go back to the shadow. Forgive me now that would have been easier had I took the time to double click this name it shadow you can really get specific to. You can go shadow And this could be, you know, solid edge hard at shadows Whatever you want to dio But just like that, we've isolated that area, you know? Put that shadow right over top to that confined edge If I was to drop out the line work. It's nice and clean. Uh, and I can keep going with that. In fact, I could leave the selection in place. You can also save the selections and go. Where is it? Convert to selection layer. This is nice, because now, as you have to do, is each time Just click. That gives you that selection. You can turn visibility office. You don't see that big green blob. Remember, that's an inverted selection, but that's what you want. That means everything that's green is mashed out. And so now you can keep adding these effects. Forgive me. That's actually backwards, isn't it s So we want that the other way. Command shift. I we're gonna delete this one. Get that out of there. It's That's when we don't want selection. Convert to selection layer. So we do want the green. How were the selections? Forgive me. So now you click the selection there can. You don't have to have the visibility on this works with or without the visibility on. So turn that on And then again, you go to the shadow layer in your paint just in the confinements. So if I'm working on something really advance and I know I'm gonna come back and keep editing a certain area. The painting. I'll create thes for different areas. It just makes sense. It's It's a little bit quicker because again, if you're gonna keep revisiting it, it's a lot easier to just click that and get your selection. And, you know, it would be nice if it doesn't. It didn't switch it to that of the layer does. But it's not a big deal. You just make sure to click back on the layer you actually want to work on on. That's that. You just keep moving forward that way. So what to need about this is I can start with some of these hard edged shadows. I can take my blending brush here. You see, I got this kind of little weird overlaps. They're not a big deal. Just kind of blend those back and forth to disappear. You can soften up some of these edge edges. A lot of times I feel like the painting looks, you know, a bit cartoony. If you have this all over the place, right. So you want to mix it up with some of them a little bit more hard edge and someone were blended thing to pay attention to here, and I'll talk about using mood boards and references well, and basically it's, you know, paying attention to things like motorcycles, fast cars, you know, sporty cars. You're going to see these kind of lines in them and fades, and you're going to see there's a nice mix of hard and soft edge. I think when I designed stuff like this, I really want there to be some resemblance of that. That kind of design those car designs was bike designs. Plain designs is there's different things, you know, helicopter, you know you want incorporate all of those things because they're you know, part of it is our mind. Recognize them, right? We see it. We're like, Oh, like that because it's already something I, you know I'm comfortable with. And I've seen before That's part of it. You definitely want to explore a lot more than that. But the other part is, some of that stuff is just so well designed. It gives you amazing ideas on, you know, you mix it together and it becomes something altogether new, right? So you just have to take pieces of the puzzle in pieces together and make your own thing now. I'm not really particular liking that. I just want to explain how I tend to get these different selections. So the one was to paint past that, the others to generate the selection, Stay within those confinements like that on. That's really the way that I like to work, so I'll leave the selection. But I really don't like the start that I get going here. Three other thing is you're going to mix and, um, you know, little areas of shadow like so, for instance, you might take this area here, do something like this. It's picture on, let's go to multiply because it's trying to lighten that, obviously. So we multiply that you might get a nice little, you know, line like that. So that's something you'll see in a lot of metallic surface is another way to do it is where it looks more like, um, command E to de select might do something like this. I called the Coca Cola swish, and what I'm gonna do is not even finish the selection because I don't plan on it reaching that bottom area Anyways, I just want this fade from this top line. So think about like your masking something and then airbrushing it in. That's this is basically the way that I used to do airbrushing on different things. Would you create that mask? You brought something and you peel them asking. Do it again and again and again. You just keep building it up. It's the same concept. Um, but again, these are just giving you techniques on how to do this. I'm gonna start fresh now and actually explain the way. I really wanna look at doing this. So the other thing I want to show you is that when we're working on stuff like this, let's grab our selection again. Go back to Shadow. One of my favorite brushes is back to the pencil brush and playing around with the opacity of the density of it. Okay, so what happens is you get this really nice, you know, hearted shadow where you want it. So again, we're thinking about playing changes first. At least that's what I like to start, and I want a little bit darker. So I won't do is go over this couple times. So it's it's got enough translucency where you can really build up your your tones and B Ah , you know, kind of, um, painterly about it. I feel like this is one of my favorite paintbrushes, and it doesn't even look at it. Doesn't seem like it be a paintbrush, But one of the things that I used to use when my pain and photo shop a lot was the chalk painter. And to me, this feels more like the truck painter than even using, like, the painterly brushes in this software. So and you can generate this type of brushing any software. It's just a translucent hard edge brush. Um, so if you notice I'm not really using the point of it, I'm going past the edge, defining you know where I want the shadow. It's pretty basic. You could do this with the selection tool as well, but I just like to draw my and then And this is again just the starting point. So I'm not gonna end up here. I'm just starting with this. That kind of get some volume figured out. I might also jump over to the soft airbrush and leave it to multiply, You know, again, it's dark in the dark that also dark and lights. Now, if I want to work on just the form, then I can very easily take the selection tool hold Ault and I can isolate this area using that line work that I initially hadn't place another way to do that. Since the line work is there, I can jump right over to the clean lines. Copy. And I can hold Ault with the wand. This may or may not work, but let's test it. And so that selected it in it shift. Know that De selected yet, But its gonna de select the pieces. Okay, so, um, let's see if that even works out. And when I work out as well as I hoped, Yeah, it'll just be easier to do it the other way. So what I'll do is go back to the the wand or the free hand selection tool. Hold our to rotate because I always seem to pull down with more confidence. Hold Ault dragged through here. Wrong there. If I want to be very specific. Can I see? I've kind of messed up there. Hold shift and I can Reese like that double click here, pan back here. Okay, so now hold space bar moving into place. And again, I could do that appear ro easily as well. I can hold Ault right through here. And then I have isolated just that foreign peace again. If I feel like I'm going Teoh need that. I did a little bit of work to get here. Maybe I'm gonna need that selection a couple times. Selection, Convert the selection layer. Double click here. Form area. Move it over next to the other selection. I'll call this one full home. And just like that again, you don't necessarily have to do that. I'm gonna teach you this stuff. An overkill kind of method, Because again, I want this to be versatile for a lot of different students, you have to pick and choose what applies to the way that you like to create. Maybe this drives you nuts getting all these layers. I don't know, but I gotta show it to you that way. And you can always pull back from there. But I don't want to be too advanced pain. Everything. I'm one layer because I know when I started out, I would pay attention. Artists didactic. How did they process all that information? on keeping on one layer. It sort of just happened to naturally, the more and more you do it, you'll just start to do that. You'll you'll start to make your own shortcuts. So again, Now we've got the form area that's the for armed, commanded to de select forum area and go back to the shadows. And so now I'm gonna keep building these little plane changes. So another thing is, I feel like we're gonna see a little bit of shadow here. That's why sexual just bump up the density since I'm hitting that twice anyways, that actually no, that's clean it up a bit. And I could really isolate this area of the selection first if I want this to be perfect, but I really try to fight. That hurts to say everything's got to be perfect. We're just getting some based paint going. We can also jump in here. We can blend any little weird fades that we got going on. We can erase back, obviously. So I don't want this shadow going into this. I remember this is not a floating layer. So editing is super easy and effective right now. It's not gonna hurt anything. Um, you can do all sorts of things you can say. Well, I want this to be darker. Uh, in this, uh, one of my multiply. I want this to be darker in this little pocket. Okay? So I could do that. And if I'm not hitting anything else, it's easy enough for me to take a solid brush, set the translucent, and then erase that back. Just watch out for little artifacts when you do this, because really easy, Teoh. Thank you. Erase it all. And Mrs Spot. But that's all pretty easy. So you just have to think about what's hitting What? So, for instance, if you get in here and you see I created I don't know if you see that, but I create a small artifact line, so I just have to be aware of that and blend it while I'm there. Uh, it's It's kind of worse if you're your kind in the habit of painting and moving around doing all this stuff and then all of a sudden you notice it, but it's a few layers back or something. So I try to work in a way where it's easy enough for me to edit and keep pressing forward S so I don't get backed into a corner with the way that I'm painting. So also, I still feel like I need a little bit mawr shadow down here. It's easy enough to do that. What we've got, just the forum selected, and I also feel like back here, I can also put a nice, darker line right through the ridge. Here. Player out that concept. You'll see that a lot of times, especially if there's a heavier light source on the one plain one side. It will generally cast a shadow a little bit heavier on the edge, so you'll see that a lot with like robots and cars. And again, if you have any question about how toe highlight and shada surface like this, just look a sports car. It's it's probably your best reference, Um, and like I said, I'll show some examples of that as well. I always have to try to find stuff that I can show within the course content. That's not the issue copyright in otherwise. So just like that, maybe a little little one there grabbed the blood brush, play a round of blending that bag someone because subtle. But I think I like that. Um, so yes. So there we go, and I don't want to jump in the highlights yet, so I don't want to jump the gun. What I'd like to do is show you how to apply this effect throughout. And then we'll go back and do another pass with some highlights of texture, things like that. So let's conclude here, head over to the next lesson and continue painting. 9. L8 Applying the Shadows Part 2: okay again, Duplicate group and just say no. Probably after this, I will do these in between recording, so you'll just see this pop up as the next number. No sense in a boring you with the same repetitive tasks, but this is something that, um, takes a second or two to do, but it's still well worth it. Organization can be a great thing and not my strong service. I have to really make the effort. Okay, so there's ah, the eighth incremental change or series of changes, and we're gonna keep a plan, the shadows. So again, we've got the full arm selection. We're gonna utilize that. And, you know, you see, this is this is really segmented anyway, So it's easy enough to work without de selecting, re selecting, you know, creating these copies. So I'll probably stop there with the selections, because again, the separation is so easy right there. And remember, too that the other way, if you want a lot of times, if I wasn't explaining this for newer students, I would really My preferred method is to add shadows like these right on here, because it's very easy to paint this in and if I make a mistake just to select the neighboring color so I can hit X, flip it to the other color. Hold, all select. And now I've got my two primary tones right there. So for me, it's it's really easy to just go back and forth with that. So you see, right there I get a nice little cell shading effect so I could go. I'm just gonna move faster. I've got the confinements of this lot transparency. If I go over there, big deal, I can blend that Whatever. But again, if I want to be specific, I could just throw my selection around this whole area and it doesn't need to be any more than that. In fact, I don't like this bar. You can eliminate it up here, but I like to keep it for other things. So hold shift, Select over here just to drop that bar down so little, Well, f y I there for you. But what I can do now is paint not worry about dropping into that next piece. I can get my plane changes in that I want just like so Probably the only bad thing is I can't really soft Race that back like a layer. But I can hit X, go to my other color, go to the airbrush that that normal mode And I can emulate that same effect by brushing back like this. So to me, when you do your plane team, did you still want a little bit of this? Because you have, you know, bounce light light doesn't just hit leave a hard at shadow everywhere, right? So that's why associating it's so effective for comics because you can really throw in all these different values of light and dark. You know, for something like this, you're gonna get some bounce late. So Light's gonna hit this form of bounce back up on the there so you might throw a little bounce light on the bottom of this. So you want those plane changes, But then you also want to soften him up. In some areas, eso something like that looks more reasonable to me than just that solid edge. But again, this is wet paint. Naturally, as you become more advanced, I think this is something you'll do more of. In this particular instance, I'm gonna go back to making this solid So like I said, it's really easy to get back to Step one and then I'm going to continue on the way that I was going. So now this is a selection copy, so I gotta drop that selection. I do need to create a selection that goes right to that edge. Someone select full arm copy again, gonna grab my magic wand there. Or so I keep calling the Magic one, and I'm gonna hold Ault. And I really just need to get the neighboring area so I don't need to really do too much. I just want to isolate that metal. You see, some of that selected down there, Not a big deal. I'm not gonna throwing a brushstrokes that far. Go back to my shadow copy again. Solid brush and get in here and do some plain changes. And again, I've got more room for at it so that if I go over and ads or something like that, I can easily fix it softer. Race it back. The main thing I like to do here is actually stick to the canvas the whole time until I'm done with an area. So I could if it's not comfortable for my hand. I could stop on this line, but it's pretty comfortable for me to pivot off the back of my hand and then just kind of go around this whole little area like this. So again, I like to get that all in one pass, because if I hit it a second time, I'm gonna get that. So just be aware that while I'm here, I'm gonna take the eraser soft airbrush eraser. And I'm just gonna knock this back a little bit, because to me, you know, like we defined up here the light sources on this front face, We're going to get some of that line, that plane change right there. But it's gonna be it's gonna be able to me it's gonna be a little bit lighter up top, darker at the bottom, minus any bounce like that, we decide to add. And it's gonna be lighter on this side because the light sources, you know, closer to this side then visit side. So just little things like that to ah, start toe, you know, figure out this Ah, the chain of command for the light and dark. So now drop with the dark again. Bring that over here. Also, if I want this to feel like a thicker material on my bez let all the way around. Even so, I might had a little bit of shadow over here A little bit right there. Can I want to try to get that in its singular pass? Appear him, you know, make it'll small basil like that that I didn't necessarily drawing. But again, I want to think about that. The metal is not just a flat, thin piece of paper, you know so But I also might throw in a heavier shadow, appear based upon the shoulder plate. Right. So I need to think about that as well. Neil, To me, that looks more realistic. In fact, I feel like it needs to go this way and then down this way. I remember when I was doing store board paintings, I would I would go as far as to select this top shoulder. Copy it, Philip Black. Pull it down. A race. Impacts of it really want that to match. Nowadays, I just kind of throw it in there. But again, I want to give you mawr tools for your toolbox. That's another way to do it. If you want a perfect you just used that edge. Bring it down. That's kind of again how you'd make stencils for painting. Traditionally, do little techniques like that. So s so let's do that. And then let's softer race that back a little bit. Just seems a bit too harsh. Now, if these contradict one another, so you start to put these in. But you know, you go to erase it back, and they're both in the same layer. What do you do? You just use the second layer and then you got more room for at it. But you get layer intensive over there, so just be careful that okay? And I also want to think about the global shadow as I do this as well. So let me grab the airbrush that shadow again. This is just selected here. Let's sit. That's a multiply because we know what's gonna dark and everything consistently. And let's bring that up this way. So our lights were some of the top, so it makes sense that we're gonna be darker at the bottom of these surfaces. And let's also check it from a distance. Another good technique is always pull back and see what you're getting. I think that's fine. I also feel like we need to see Origen here. So we have to determine if the ridge of the shadow of this materials right here. Yeah. Is this this middle part? This rectangular shape is that recess into the metal? Okay, So the reason why that matters because, you know, you get a very different effect if you put the shadow on one side of the other. So here it looks like the metal is higher, more bustled out on here. It just looks like it's this piece of sunken and it's I guess it's really the same idea. But, you know, based upon where you put these shadows, a lot of times will make a big difference, especially as the adds up. You know, you gotta really be mindful of where you're dropping these little shadows. For instance, if I want this part toe light up so I want this to be a little little light source. I can't put the shadow right here, at least not so hard. She could be a very light shadow shows a basil there, but you have to light in a way where it looks like this middle pieces light. I can put the shadow here and make that light up. And again, I'm so gonna have to race that back to make this light look like it's shooting up on there . So again, you just really have to think about that light source. But I do want there to be a shadow. I think I'm gonna put that on the inside. I don't think I'm gonna like this up. So because the other thing I'll have to do is think about the light source in the way that affects this other shadow. But I do want that shadow in there like that. I think that helps. I also cso also want to do that over here. And I might raise these off the surface. I might put the shadow right there, but those were actually gonna be marking. So let me let me go with this. These are actually gonna be filled in, like this guy. Want these to be markings. I kind of jumped the gun because that's something we're gonna doom or towards the end. Uh, and then also I could really lighten this. Um capacity for this darker pencil. And remember, I said, I like to put a little lob a little bit harder edge shadow here. And also, this is because we're probably going to do away with this line work. I haven't really decided yet, cause some styles You want to keep that line work in there. But you do want to think about making it read independently without it anyways, right? So if it's just digital painting, you need those lines in there, so they need to be cleaned up a bit better than that. But you're gonna want thes kind of definitions in there so that, you know, reads as you know, the initial design. But I'll have to go back and clean those up if I'm gonna do that. Okay, so let's go ahead and conclude here, head over to our next lesson and continue to paint this design 10. L9 Applying the Shadows Part 3: eso. Now, let's go ahead and jump up to the shoulder here and same thing. You know, in this case, we can, um, go back to our form selection. So command Dida disliked form selection. Grab this tool. Hold Ault. It's like that. Start with Thea Airbrush. We gotta go back to our paint now, Shadow Copy. And we're gonna paint our shadows source. And remember, we're keeping that light source of mine as we do this, so we can, you know, brush from this side over a bigger brush is gonna give you a nicer Grady int. And then, uh, you know, the harder brush, something like that should be fine when we drop the opacity. So let's bring that back a little bit, my damn! And then, in this case, I'm going to draw author here, I should say pain, but I feel like I'm dr since I'm using a pencil brush. And remember, if you ah, if he struggled to get this area just right, you could create a selection. But you can use the lines to help you so you can put it down where the lines are. Lift your hand off the screen, maybe rotate the canvas where you want it and then come back this way. Now they want tricky part. Here is you gotta be careful that when you get to this part, you create a nice clean line going down. Remember? Generally you're going to get a cleaner line with one smooth pool versus stopping and going . But if you do have to stop and go, she don't have the and control. Just remember, you can come back and blend this pretty easily. OK, so there's that. Let's get this side in there. You can I'm gonna stop it right there. I want a little over a big deal and reposition my hand. Get this whole area here. It's like that. Grab my blend brush pushed around nice and easy. Okay. I still feel like the shadow is a comfortable here a little bit more. And I can also use the same brush as an eraser. And Aiken, lighten up this side over here pretty quickly. It's like that's began thinking about the plane changes, thinking about the light source so on and so forth. Okay. And I also want to see a little bit of a hearted shadow to the top now, I just have already got a selection there. Let's just do this. So that's another thing we could take advantage of. We can add a layer. I'm not even gonna name it. Multiple can emerge it down. Um, and you wouldn't merge it down in case she wanted to be able to go back and added it. But in this case, also want to do is I want to kind of try a hearted shadow right on the top off this. Ah, this piece, maybe something like this. I'm gonna draw that line. I'm gonna keep the brush down on the canvas the entire time so that I don't get any accidental artifacts. Not that they're a big deal, but just something that I tend to try to avoid if I can. So there's that. And then I have to think about Would this be lower? Higher? I always get confused here, but I definitely just don't want it to go like this, OK? It takes away from the death. So regardless, just pick one gets just tested by I, um I think that's right. So the light sources here would hit that area first. And this area is higher, so the line should be back. I think that's that's right. But I think more importantly than anything is that they don't line up because it's gonna really again take away from that perceived depth. The other thing is, I feel like they're still gonna be a little bit of a cash shadow right here. Put that in his well, double click here, check it from a distance. Yeah, I think that works. So it's really adding up all these effects and then, you know the beauty of layers as you test it out. You know, you wanna always trust your eye if it looks better than it did before. So you go like this, you know, you can play around the opacity right here, which is great. So you can really zero in on what you want to see there. And if it looks better, you keep it. If you don't, you delete it. So that's the beauty layers. I'm gonna hit command e, merge it down. It automatically keeps the name of the bottom layers to keep that in mind. So you have to keep retyping stuff all time. Just like that. We've got more on the shoulder. Now, I I think I want to add a little bit more. I think even want to take that that hearted shadow on and introduce it one more time. You know, I kind of like that shape. I'm gonna push it back here again, and I'm gonna try something like this just on this top surface. I'm going to punch back the capacity of it. And again, I think I like that. So it's it's giving it just another dynamic of, ah, shading nothing. I need to blend it back here. So eventually blend these together, this sob Well, I'll show you right now. So I'll take this. I like that. I feel like it could curve a little bit more like this. Remember, It doesn't have to be a salad edge all the way through Weaken blend part of that edge like that. I think that even looks a little bit better, more natural so you could play around that here and there. You leave some of it a more solid edge, and then I'm not do anything cause I'm on this layered, uh and then I'm gonna hit Command E. And then I wanna blend this line together. I just feel like those need to be one of the same. Play a role. It soften up some of those shadows, so I love to blend. It really helps bring it together. So just like that, we've got the shoulder piece, you know, started. It's not done by any stretch of the imagination here, but it's got some shadows in there. Let's move on down to the hand. So with that, let's head over to our next lesson. 11. L10 Applying the Shadows Part 4: all right. So same thing here. Let's get the hand area isolated. So a lot more little shapes going on the hand. This is where the selection of line work can really come in handy. No pun intended hand handy Whose joke? There. But anyways Ah, let's see. So if we take are full arm selection. Let's start with that because we want to globally like this First I would say so. Full arm select like that. Let's grab the lasso tool Hold Olt. No, this is all redundant. So forgive me. Don't worry about the selection being perfect. You know, you can obviously zoom in here and get it just right, but not a big deal, Remember? Like I said, if you don't like this bar on the way, you can move it by selecting somewhere else. And just you got ignore that area, but it will move it over. Um, again, I like doing that because if you change it in the you know, selections appear, whatever the tools, you gotta keep changing it Bag. So Alright. So back to the shadow. Copy. An airbrush said that multiplies Fine, because there is a little bit of shading here we're gonna dark in that up a bit. Remember our light sources up top. We really talked about if we're going to use more bounce late. But bounce light is very easy to apply after the fact anyways, because all these blending modes so I'm just going to use this shadowing like this, and then I want to think about where the major plane changes of this air gonna be. So I'm gonna grab the pencil brush here, and then let's see, we're gonna have our light source coming from the top. We're gonna get some shadowing from, uh, the form dropping down over top of this So you could really start with that and get some of that in there. You could really play around that and do it. Everyone, I guess I could You could put all this in shadow like this Really? This too, because of the hand So you could do something like that. That's probably a little bit more realistic as faras what you're gonna get from you know, the placement of this light. Now, remember, that light can be figured out the same way perspective can, so you can really draw, you know, picture of light is right here. Moving suit, my little zoom tool moving. So you picture lights over here somewhere, right? You can draw perspective lines coming down towards whatever you're painting. I don't do that. I just think of it mentally as I'm applying this. But that's really what got me to think about what I just explained here. The other thing is, when it goes over different surfaces, kind of like already touched upon it's gonna shift. Okay, so these shadows at the very edge of it is going to shift around each surface because that's how you're gonna make it look more dimensional. So, for instance, let's go back and start this again. You know, better yet, I'm actually gonna do this another way. I'm gonna create a selection, converts selection layer. Okay? And I'm going to call this hand, obviously, and I'm gonna turn that off and I'm gonna take a last. So here. And you could draw this or last. What would have going dio I'm gonna picture again that the shadow is coming down to this area. It's coming over here now. This is an area that drops inward. And so it's an Indian. Okay, So if that occurs, I actually need to come back and change that. It's gonna go down in there. It's gonna come back up, come back up again, come over and then it's going to again. Is that this is the shadow from the hand? Okay, so I'm going to select all that area now. The one area that I messed up on, I feel like it needs to be different. Is right here. There shouldn't be a gap right there. So I'm gonna hold shift. I'm gonna draw in and over just like that. I'm gonna take the flood fill. I'm gonna fill that in. No, not on this layer anyways. But I'm gonna add a layer flood. Fill that in hit command D to de select. Now that just looks like a weird blob. Right? So I'm gonna tone that back to the think about it like this. You want the most opaque area. So if you wanted to be darker in a certain area, that's the level you're gonna bring back the capacity for and I'll show you why here in a second. So remember we we created that hand selection, so we tapped that we had command shift. I go back to this hit delete, so it's just an easy way. Or maybe it's not easy couple steps there but to implement that shadow. But instead of us focusing on the way we're painting in the overlaps of the brush and all that stuff, we're just focusing on this stepping pattern that you get from the depth of the whatever your painting eso rather put the focus on that it's easy enough to add it with these tools over here and get what we need now. Like I said, we're picking the area. That was the darkest Okay, so meaning Well, you know, we're thinking in afford mo mentum of like, we're gonna have to erase us here shortly, erase parts of it because not all gonna be one even shadow. Okay, if you tend to do that too much, it just makes some of this boring. We want to think that the light sources hitting over here. So you in a little bit more light on this side. So you're taking this setting it too transparent. So that's the normal it'll take that matters when you're racing, but just in case look like it's doing a lot. Oh, because we flipped the selection. I flipped the selection Command shift I to flip it back. Now we're gonna be able to raise OK, some softening it up on this one side again. That's just me trying to make a little bit more transition. Wanna make sure that if I could blend that, that's actually on the other side of the shadow. So what I'm gonna dio is flipped back to that real quick blend that little artifact out of the way. Not that I can't do on emerging, but I'm just kind of making sure I'm also gonna jump back to the shadowy just applied Blend that right to that whole area so I can take care a lot of this as, um, right here. So again, I softened up the one edge stopped, very knows well, but it's there. I can also get in here and make sure that some parts a little bit darker. So I can say, uh, you know, let's let's dark in this op where we are here, it's very light. That's why let's let's make this little moral Paige more. Boston City must drop in a little bit more shadow this one side. I also feel like we're going to see a little bit drop shadow here. Oh, you know why? It's because this is, um, set to a later rapacity is what we'll do. There is. We would emerge this into place. Command e create one more layer. I don't want to get a few more of these drop shadows hearted shadows here and there. So we got that. We're gonna have a shadow here. Remember, this is this is inside now, So we're going to get he's a little, uh, cast shadows on here or on that president services and shadow like that, we can say it. There's a heavier shadow coming from here. I feel like we're gonna get a little bridge right here, right here. Remember, to you can drop this in and you could blend the pain over. So it's not just smudging it. You can actually, still in my team or pencil there. It's not just smudging it. It's also the fact that you can drop pain in painted over. We're gonna get more into that in the next few lessons because we're going to start basically playing more paint. This is essentially kind of just a a starting point again, thinking about playing changes, thinking about basic drop shadows, cash shadows, things like that. But as you paint, you start to just texturizing. We might just throw in some pain in the corner and then just brush it around, okay, so that'll be more what we do in the next lot lesson. And that's how you get that painterly look. So everything doesn't look too like you're going for an ultra clean and concise look because, um, I want to show you both, like there's times you do want that very clear. Look, there's other times. I think it just kind of, uh doesn't make a painting look as interesting as it can. We want to really layer this stuff up and try to make this look, you know, somewhat realistic. But more or less an animated realism, if that makes sense, unimaginative realism eso some more of these shadows here again, I can think about just the way that the major plane of these areas air, you know, kind of flipping on top. One other, This being spherical. I could really select this and just use the airbrush, but right now it's trying to think as much about how the hearted shadows would react. This right here could catch some shadow. Now the light source on the top. So, really, that probably wouldn't catch that much shadow. But also you got to do is go back and take the race and then a race back some of that. So I get some of that line Middle Tennessee in there, but not not as heavy as I had it over here. We can obviously dark in that quite a bit. All this is in the shadow side. Play around with all this here. Drop shadow from this piece, I bring that over here as well, so forth like them. You see, it's starting to have a little bit more form to it. More shape, more form. Um, what else? You know, this part looks notice that this edge of the hand looks very, very flat. I didn't put enough edging or anything like that so we can do a couple things here. We could take this and lighten it up, and we could run a perimeter shaped like this. And so it's pretty pretty silly, Almost cartoony. But as soon as you come back, and I'm just gonna leave that there for now. But when I come back and I start to highlight, I could bring that out further. I can bring it out further by darkening some of these little lot. And then So even though I didn't draw ah, Basil right there, it's pretty easy to create the illusion of a basil. Um, I just, you know, being mindful where we drop in that you know, the shadows like this is still going to be darker. And I'm probably gonna change these colors as well. So think of this as, uh, you know, some of these being different, different colors altogether. So we'll probably do a little bit of to toning and things like that. So let's bring up this brush dented again. It's more of this in place again. Now that now that we're perceiving, this is, ah, more dimensional material thicker material, probably gonna cast a shadow. Her will cast the shadow something bad. Remember, we see a little bit of that ridge right there. We can always race that back. That's too defined. Get that smooth line in there, always struggle for me. It's always easier prime mention this over and over to turn the screen seemed to pull better on a downward pull. So sometimes just getting that mechanic right that angle, right makes a big difference. Okay, drop shadow here. Top shadow here. All this can really be in shadow. It's starting to curl under, right? So we can really just fill that in now. So likewise over here, that's gonna have some shed on the very bottom. And we price it is self filled in as well. So I really like doing this because this part of the painting, to me is still like drawing. I'm just drawing in a lot of what I want to see here on. Then I could just keep building up upon that so maybe some of it sticks. Maybe some of it doesn't. But since I have these on different layers like this, like player again, I could play around with the opacity. If I feel like the effects or too intense, I can erase him back. I can add a little bit more shooting to the very bottom, a little less shading that the top to get that light source more evident, things like that. So it's double click. Check it from a distance. I feel like the fingers are a bit dark. But again, this is still so preliminary we're gonna have ways to edit ID. Rather kind of leave it. And then I could go back and change it if I need to. So I'm gonna hit command e emerge that down. Eso what? That we're going to stop here. We're gonna head over to the next lesson. We're gonna start talking about light sores, and we're gonna get into some texture and all that fun stuff. So with that, let's move on to our next lesson. 12. L11 Applying the Highlights: Okay, so now let's try to introduce some light source and see we take away that Leinart and it's starting to read independently. Still, not yet. But after the lights were settle should show a lot better. And then you know each step. Therefore, you know, moving forward like texture, all that it's gonna bring it all together. Um, So what I'd like to do here is will start from the top down. It really doesn't matter. But, you know, exceeded shoulder already feels a little bit more dimensional because that little light source that kind of implemented there, let's do the full arm selection. It's at a layer over top of everything but the line art. I guess we'll call this Ah, my source. Okay. And then what we'll do here is pick the lighter tone and, uh, lots of ways we could do this. We could paint in a normal mode, but we can change our blending modes of their We'll start with that. So let's hold Halt. It's like this lighter color right there. Yes, you see, it's a really light blue almost to a white, and let's just drop that in pretty heavily. And some of these front plainer services case of these areas that were just be a little bit more likely to catch. The light is we're just gonna brush that in a little bit. You could test the waters. Um, just just like that, it's simple is that we see with the, you know, on and off switch that we got two more light. Okay, Now, the other thing is with these blending modes, is it You can really punch these up. OK, so that's too much. But, you know, you could see for a speculator surface, you might want to play around and get some of this in there. So you've got add glow. You got color Dodge. Ah, Glow Dodge again Too much. But it could be fun. I mean, you could definitely see that top area for, like, a power of factor. You know, maybe we want some of these areas to light up. So in that case, we use something like this. We fill that in, and then we put a little bit of glow around it, so it looks like it's reacting off the metal. And just like that, you've got an area in the design mint close but just for a light source, I feel like that top areas just two months. So what we're gonna do is go back to, uh, what we start with normal mode. Uh, like whereas something before that? No. Okay, so there's our normal moat. Turn that off. Turn that on. Yes. So we'll start with this for our immediate light source. Okay? Now, the other thing that you could do with this if you notice we just brush this in over the top of everything. Okay, so that's not really the way that light's gonna react on two areas that are more chiseled like this. What we have to do is go back and erase Parts of this were blended or whatever, but so just by doing that right there, it looks a lot more. Um, you know, accurate. It shouldn't be faded like that all the way around. Now, if you get a lot of light in an environment that maybe you're going to see more of that but it's generally you're gonna get light. That's brighter on the one side and more diffused or not apparent on the other side. So it shouldn't interfere with these shadows too. much also weaken again. You know, erase some of this back, even in areas like this. So maybe this playing change of this bottom ridge to be a little bit lighter than what we see up here. So something like that same thing right here might go through here. Just raise a little bit of that back, pressing real soft right there. Just trying to change a little bit from what we see over here. And also, you can even get you don't see a whole lot right there. But you can also get a fade. A Grady int that goes from a to B this way. Okay, So if you were to look at this and say Okay, this area of right over here is gonna have a little bit more shadow, and I'm on the light source layer. But I'm just trying to explain this real quick so you might do something like this on another layer of them, you know, bring it in emergent or whatever, but see how you can get just a little bit different. Look, it really kind of separates that. That's kind of what happens with plain changes. You get the light from the one side, it's curving, so it feeds into dark. It's stepping repeats. Okay, so that's not gonna leave that. But I just want to show you that something else we might end, ADM. Or to the end of what we're doing. So I think that looks a bit better again. We could toggle this on and off to test that, um, I do like that stronger light source that was right to the middle that pointed light. So let me let me see if I can add this by I'm gonna switch the blending mode over here, and then I'm gonna paint over here. Yes. Since I don't think it's gonna give us quite the effect, it's starting. Teoh. Yeah, I think I control it better than that. Now, if this was a full pay Claire, the blending mode over here would work just fine. So just keep that in mind. We leave this to normal and let's see what's good. A little bit more well done in the dark. Is that why? Let's go back to that? Yeah, I think that was it. Yeah, but I think I still want to add that as a separate layers. Let's go back, Said this The normal can't make sure one of the light source. Let's come back to here again. I can think about this globally and, you know, shoot across the whole area. I think it makes more sense to do that because you're putting your mind to ease your hitting that whole area and the years going back and editing it by erasing set the translucent and erasing. You know, any of the areas you didn't mean to hit? Okay, they didn't want to effect with that light. So it seems to give you a cleaner overall application of this. Just gotta remember to keep jumping back and forth over here. So again, light source. Maybe I don't want there to be. Life's was affecting. These here is right here, like races back so forth and just moved down. You even try to incorporate another shape like that so you could race it back kind of the whole front plane, and it gives you another shape in there. I don't necessarily want to see that. But began. That's something else you could do because you're the whole time you're building up these layers. You're building up these effects so again hit the later area light source at the normal Make the brush larger to this entire area is a global kind of effect. Well, then and then again, race with solid brush and try to perceive you know where you don't want. The light source hits right Here is a good example. With this whole middle, Eriks, I'll probably color this thinking. I'm gonna make it where this lights up. So it doesn't necessarily have to be any certain color, because we'll fill into more paint right there. I bought more I'm looking at and what I'm thinking. I do want to see that lit up a little bit of a ridge over here. Make that late Oppa's well, and then even right here, I think that's too much. So what we could do is we could just jump back the opacity right here for the race. I like that. I like how one side is a little bit lighter than the others. Just little things like that tend, Teoh, it really make this look more, um um or professional or polished or something like that. Okay, so now again, we want to make sure these indentations or a little bit darker so we can erase back our light source here and there, Play wrong. You know what we want to see in these areas? For the most part, this is This is fine because we're gonna continue to paint in this area quite a bit. Anyways, it's a title that on and off. Yeah, And I think overall I like that. Let's check it from a distance. So it's starting to feel a little bit more speculator. I don't really like the I guess I'll call us a tricep. I feel like this needs to have more shadowing. Here's just gonna do something like that. Um, yeah, I still feel like it needs a bit more transitional kind of line work like that, but we'll introduce that more. So there's our initial light source just like that. Now, like I mentioned, I do want there to be some or of ah metallic kind of feel generally for metallics. You're gonna have a very specific hot spot. We can do that by just adding another layer calling this, you know, just HL for, like highlight. So it could be a stronger highlight. We can paint this. Ah, in a normal mode. But the beauty of this is we're going to, you know, control it over here. Basically. So let me set that first, and we can paint that in. You could start with a very small brush. You can blame that out. And because we're going to do it in this way, we can really de select hit command T, and we can skill these highlights. You can even distort him, so they're not so spherical. But you play around the opacity, the size, the effect, you know. So, for instance, if you have one there and you hit all to drag it down command T, it could be a lot smaller over here. Maybe eso you just play around this concept. You can also brush over the top of this and maybe give it a little bit more of a fade out from that point. Um, let's see what else here we can use that same layers. Let's let's just brush some of this. Like I said, they don't have to be spherical. So you can, you know, have a hot spot like this, and you can bloom that out more on a kind of lips and it can hit in this area. You can also get some of these edges wire here. If you want there to be a little bit more of a light source on this edge, maybe it's catching this top ridge almost that body, because I keep thinking of cars. But again, that's one of your best resource is for this type of stuff. You look a car and how the light catches the body line or a motorcycle, and again you can go right through this area. So if you want to focus a little bit more in the shape you're going for, and then just go back in your well, it's not gonna hit this area. I'm gonna paint this a different color. So you just erase that bag and then maybe even take the soft airbrush. Maybe it's too strong. So you said that to a raise. Just knock it back a little bit. I feel like it like that. Want to stronger? There's Teoh. I don't want these all to be similar, either. I wanted to read independently on different parts of the you know, the robot here again. Throw someplace time. Little doubt there may be Semaj light. Don't worry about going off the canvas or off the arm, because we can. You know, we know we can isolate that area pretty easily with our selections, and I'll be honest. I'm probably gonna stop right here with the highlights for now, because, uh, I always feel like highlights are very, um, overpowering, and they're very easy to overdo. So I like to actually apply some and then come back to him because if not, I'll just go kind of crazy with it. And then, uh, I'll have to get get him out of there anyways, so not a big deal since we're working off layers here. But again, I want to be very careful about over doing my highlights, because I just know I tend to be, you know, they're so pretty to look at something. You just want to put him everywhere, and then they kind of lose their luster. So a little bit more, I think more of these hedge lights that kind of like those it's bringing out the again the body lines or rollout lines. Beauty lines will calm that here their beauty lines feature lines. That would be the right the right terminology. Okay, so just like that, we got a little bit more to look at. We're starting to get that light source and play. I think it's starting to make this feel more dimensional, which is what we're after. Eso let's go and conclude here had over to the next lesson and continue on. 13. L12 Using a Mood Board for Ideas and Inspiration: All right, so I want to talk to you about a mood board. So we could have really started here. And when we go to doom or of the character process will definitely be using this kind of from the jump. But But I do want to recommend that you try to think about this in multiple angles or at least two very, you know, specific angles of using this kind of information. The reason why I do like to start here is I like to test my imagination. I like to test my memory. It's not always gonna be the prettiest. Sometimes we're gonna look at it. Go. Uh, I really just took it in the wrong direction. But I think it's important that we practice from memory from imagination to strengthen our skill set. And I always feel like come up with a little bit more imaginative, obviously, creations by doing this first. So that's why I want to start here with the and really want to focus on basic shapes. Ah, primitive kind of build up to this of it again. For beginner students, you can jump into this without too much too much complexity. You know, holding you back. So the great thing about mood boards is obviously it gives you tons of information. Okay, You have to assemble these You have to think about. Okay. What are the things that really go into? You know, modern robe robot design or your idea, Your imaginative concept of a futuristic robot designed What would you know give you that? That information in today's world and even in the past. So So if you notice here have got, like, some medieval gauntlets, I guess it would be called the gloves. Ah, lady and armor there. Um, you know those air, Obviously, where robots initially would come from, right? You know, even kind of solid in the Iron Man movie. What do you do? It started with the old, you know, Robot, are you look like a big suit of armour. A knight knight in armor kind of thing. Uh, that's what he had to work with. So it kind of all started there. And there's tons of great information right there. The overlaps shading the texture of the metal. I mean, you go on for days, there's tons of great information just in that picture, and then we move into something more modern. A little bit more, I guess. The revolvers. A little bit more old school. But then, ah, black or whatever this is And forgive me for the terminology, but But the thing is it again, great information. Look at the texture. And even though this is a polished, you know, while manicured gun or something, there's texture in there. Okay? And I just want to pay attention, even the edges. If you look real close or not, perfect little matches here and there. So you want to think about stuff like that and you tell if we go back to mind, its ultra clean writes more cartoony. And But what? I want to introduce some of this stuff. And then here we've got a really neat texturizing on the grip that could almost be like maybe like a carbon fiber. But it's It's a grip pattern, really easy to create. If you look at it, just diamonds and then some shading and the way it's done, so we could introduce some of that pretty easily, and then just randomized textures are a great thing as well. We're going to show you how to do that because this is what gives it more life and mawr area of interest. It doesn't look so smooth in plain now. If you look at the vehicles here, a zai think I've mentioned a few times always great resource for modern tech because some of these cars air just so, so amazingly designed. Right? There's so many feature lines and body lines and in the way the shadows swirl in the great Aunt Fades and the the highlights hit catch an edge thons of great information just right there. Sometimes you see the mechanical workings behind the cover plates. Also great information. That's kind of what I was trying to, you know, direct upon here and then let's see what else we got. Tank tread. Obviously, if you're going for that older kind of grittier feel in a very tough machine, a very tough robot, you could throw some of that in there. Totally makes sense. You know you're gonna soc the strength and power of a tank to that design. So that's the other thing that the design thinking and each one of these will factor into what you ultimately your end result, you know, like I But the slight ball of your night because I had an idea. But just for a light source how how light is, really, you know, sometimes bright white in the very middle, its a lot brighter, and then it diffuses out. It changes color. So that's how you you know, what pretty much any light source that you're going to incorporate into the design. I'm always impressed by clock mechanisms and watch mechanisms. There's obviously even robots in today's believe. Forgive me, because these air just so you know, these are reference images. Copyright free reference savages from picks obey so you can get high quality versions, each one of these. But this is how I collect him into a mood board. But this particular image could be a robot that's out there and production. Or it could be a prototype. Or it could just be something that somebody designed and shared on there under a creative Commons free license. So just but again, it's great information. Now when you go to oh, and let me not forget to talk about this so basically heavy machinery, I mean, look at all those cool wires. This is real. Deal, right? This is a very powerful machine. These hydraulics. Hopefully those hydraulics make this function. And so when you look at something like this, you get to see true realism of today's there. And maybe you put some decorative up plates over top. You pulled parts of the car he mixed with. This baby gets, um, insane reference. So again, all this is just great stuff. Toe. Look at royal of this gritty texture here. Think I want incorporate some of that in our design today. So the main thing is, when you put these images together that you, you know, you just get inspiration and ideas from each. Now, I had to use images that were OK for me to use in this course. You have the entire world at your fingertips. Okay, so you can look at anything and you can change it and make it your own. Okay, So don't worry so much about looking at images go off, pull from this image, and that's somebody else's photo. Or that's ah you know, maybe it's, ah, picture of a PlayStation headset away. It lights up or something. You're like, I want I want incorporate that. My design. Don't worry about that. when you re create as our asses, Long as you don't adhere to tightly to that image and pretty much flat out tracing and copying it verbatim, just take bits and pieces. If I was to redesign this leg in my own style, it's gonna be different and I'm not gonna go through it. I'm not gonna draw this entire robot. I would grab, probably piece of leg apart. Change the upper leg at a extra foot piece of the bag. My design is going to look different just cause I not gonna be able to draw it identically to this. So, like I'm saying, you just really want to grab bits and pieces of all these neat little things and the more you can closet altogether and obviously recreated, I wouldn't recommend tracing. I just recommend redrawing copying onto a new piece. You're going to make something new and expressive. And if you're really worried about it, start with your own idea like this First. Obviously, it's totally original cause I drew this without looking at anything, and then I can grab pieces of this puzzle, introduced it over here, and that's what I'm to show you how to do next. So again, mood boards are very important. They can help you with blocks of ideas and things like that there. Excellent. They're used in a lot of different professions. I learned about him in storyboards, but you can. They're used in gaming and all sorts of especially group artists. Activities you know, gives the reason it's called a mood board. It gives everybody this base toe look at. It's almost like the store boards, in a sense, but it gives it this, this base understanding for the whole team to draw mood and inspiration from. So at any rate, let's conclude here, head over to the next lesson and start to incorporate some of this into our artwork. 14. L13 Applying Texture From Our Mood Board Reference: All right. So now how do we take bits and pieces that bring it over here and make this? Ah, more interesting to look at. So I've got the mood board over here as a separate file will make sure you got a copy of this. Remember that you can click, hold and drag, and wherever this highlights red, you can drop that. Okay, so if you work better horizontally, I'm gonna actually work, I guess vertically and, you know, side by side. I don't know if you'd consider Horse Hound vertical. These images look more upright vertically or whatever. So so what I want to do, though, is you know, I could I could change the design of what I have here based upon something like this. Do Kati motorcycle. Um, I don't think I want to do too much of that. I don't mind the design I have. It does look boring in comparison to something like that. Obviously. And I really like thes thes openings in these flares. I might try to adjust mind, toe look a bit more impressive like that. Obviously, Like this Ferrari really neat eso again going into this, if I would have started with these, I probably would have made some different design choices here. But I do want to challenge you to work, you know, in both directions. Okay, so the first thing I really want to see in the my own design here as more texture I feel like this is just to smooth too, cartoony. It's not a bad style. It's just a different style. So what I want to do here is open this up and let me first get the the back area filled in . So let me just pick a darker gray here, something darker than what's on the canvas here. Use a solid brush here. I'm gonna go even darker like this, basically, just picking a value at this point and make sure behind everything. And I'm just gonna fill in the area here. Obviously, I could use the selection gonna be a full passage here. Which case? Let me hold Ault and select this tone now and that'll make sure that I have a solid version of that tone. Somehow I'm painting over the line work. Why is that? When works here. Oh, apparently had a copy line work way back here. What is that. Oh, because they were both separated. So me and that were buying there. Goodness, I'm not gonna edit that out either, folks, because you need to see when I make mistakes, because we learn from our mistakes. Never discount him, Never hide them. You're trying to teach Somebody Probably need to show him as many mistakes as possible so that they don't get afraid and think. Oh, while this person just so perfect, Nobody's perfect. Even your favorite artists, they make thons mistakes. It just got really good at hiding them. Remember that. Okay, so something like that, so that I just need a base value. Other thing I'm gonna end up doing here. Where's the line worker? It there. I'm gonna end up. I could do a couple things with line work real quick, cause I think it's going to make it look a lot more interesting. Someone to drop that in there. I can like the transparency, and I could just color a couple of these wires like a deep rat or something like that. I don't need to go to crazy with it, but let's see if I grab now. See this a lot transparency. So I kind of have to be careful, because if I say if I went like this, it's not bad. It just makes it look like that wires in front of it. And I might if I was trying to be really specific. Really? Um, I want this look really polished. Would probably select each one of these little areas, then fill it. Might even try to just hit the top of the wire and use that black as a natural drop shadow . So a couple ways to look at it. But just remember, it's the whole area, so I have to make sure to just draw over just that where that I want a color and I'll go into detail this further, like, you know, shade some of these back. I don't want just these red lines, but I think it makes it look just a bit more interesting. I have to be careful to, because if they go too far over here, it's gonna hit this line. Not a big deal. I just trying to make sure you're aware of home thinking of this as I do it. So, just like that, uh, we could probably dad some blue to internal thoughts. Look is good. Let's try it, though. Were quick while we're here. Blue wire. You know, like the old, uh, adage. You know, do I cut the red wire? Is it the red wires? A blue wire. So you might want a little bit of that, but I feel like that's too much. I just want the red and black, so, you know, from a distance that just pops a little bit more. All right, so there's that. That's our line work. Now again, If I didn't want affect the line work, I could draw over top of the new layer. It's not a big deal. I could easily flood coat that back to black, so leave that there. And then So now, grabbing some of this, uh, this mood board here, let's start with one of the cooler textures. I think that'll be a neat way to get started. Okay, so let's try this one here, so I want to show you How are you? Don't know. I think I like this one better. Yeah, well, like the scratches and this one. So let's start here. So what I'm gonna do is take a selection and remember, you can get the high res images up picks obey if you want. Your just gonna type in. It's pretty basic textures, background textures, light bulb, you know, cars. But they got a lot of great resource is and they're free. Resource is so always look for creative Commons, especially if you're gonna really use the work over within your work. Um, but I personally I would always try to, you know, shift it and Trant transform it. Okay, So where is that? I copied it over here. Just so you know, I did a selection. Ah, and hit command C command V that made a copy on a layer here. And then over here I could just hit command V. So you could really hit command. See, over here after you select the area command, be over here and it will just give you this copy. You can hit command t to transform it, hold shift, and it will incrementally snap to get a perfect 90 to turn that if you want. Which really it doesn't matter. Somebody rotated again anyways. Community. But now you know the shift option if you need to use it, right? So we're going to hear Move that around. And at first, you know, part of looking ago. Well, that just covered up all your paintwork. That's just silly round. And you're right, it did. But what we're gonna do here is set this to multiply. And so now what it's done, it's introduced everything that's darker into the existing paintwork. So the main thing is to understand that, you know, as you build this up, it's gonna really dark in your values. OK, so which isn't a bad thing. Sometimes you're gonna get a better version of what you had by doing that. But you also have the ability to bump back the opacity, which I'll often do, especially if I'm combining multiple layers. Um, sometimes you're gonna want to maybe make it even darker by duplicating the layer over top . That's obviously pretty dramatic, But look how that looks a lot more realistic now it doesn't look eso animated, you know, so so lots of options there just by doing that, and you obviously have other blending modes as well so you can try dark in. It's kind of weird, but not really. And that's kind of different. So you want to play around with these. Really? The one I tend to do is overlay. I kind of like that. It keeps more of the, uh, the brighter feel to the work. Um, but I'm probably just gonna land back on multiply because I can race this back. I'm not gonna leave. It is intense. Is this, you know, over the whole area. So now the other thing is this sometimes especially dependent on the texture. You also want to distort it into place so you can do something like an edit transform mess , transformation. It's gonna give you these little nodes here. You can adjust how many of these nodes you want. The main thing is that you depend on the texture. You might want to distort it. So it wraps around that surface. Okay, this texture, it's not a big deal. But if it was something like, um, this one right here, you're not gonna want to use those dots over this in a flat way. It's gonna flatten out your artwork so you don't definitely don't want that. You want to use the distortion to make it work better. Let's go back here. Let's like the full arm copy. We're gonna hit command shift. I control. If you're on a PC control shift, I and then remember, that's under select. If you want to invert it right there, hit the Let's go back to the actual painting. I do this all the time. So where is it? Texture. Right there. Hit. Delete their okay. Commanded the select. Let's take the lasso tool Draw through here. Delete Commanded to de select draught Through here This one will have to get a little closer saying see what I'm doing, Please. There. So I can really just, you know, make sure isolate just that form Piece on. And I could really play around that concept as well, I could say. Well, what if he four material was different than the other materials right s so I could texture in different ways and see how that looks. Um, I could make areas that look like they're for defense, look more tattered and beat up. It's all sorts of neat things. Now, the other thing is, you can you don't need this be so evident everywhere. Okay? So you can you can do this a couple of ways you can go through here and you could erase back. So put the eraser on among that multiply. Let's just call this. Okay, let's call this texture one for lack of a better term. So we could go in here and we could just start to a race back now if I raced a smooth highlight here, here and here. You see, it doesn't look right. Just in fact, it looks flat out weird. I would look better if I painted over that with a highlight. And then I used the blending mode to make sure that it grabs some of this texture. Now, I could race back pieces of this and it would look better so I could get in here and just, you know, pick apart some of the details, some of the scratches, and try to perceive where light hits eso That's that's a way to do it. It's a destructive way. So I don't want to like this. I'm gonna go command Z all the way back to me A little marks here, but I just want to say that is one way to do it. Thea Other way is just to I guess, if I was going to race back on a texture like this, it would be more globally. So I make the brush bigger. And I'd say, Well, I wanted to be more apparent in the middle of the the arm with lights hitting something like that, I would have to race back that texture globally. And I think that looks a little bit better. But that's probably the way I do it. And then maybe even use it as a way to define a secondary light source. Um, but I can add that and later as well. So I'm gonna put that back. So yeah, I would Again, I would have raced globally. Let me first introduce this texture over the rest because I do want this on the other parts because I think it adds so much more for it than these things. Other areas like really playing to me now. So let's grab that texture again. So should already be selected. We should be able to move that around. See it? Command C man v. I want to go there. Can move that around with command t. We'll take that over the bicep area now, while we're here, so we don't have to keep bringing it over from the other side. I'll just hold Ault or option and option on the Mac anyways, and then take this and go back to this one again. The full arm Select. Oh, actually had a form selection. That was a waste of time, wasn't it? He has probably noticed that command shift I go to the Where's that have again? That this one, But this one. Delete Command D for D Select. Get in here in select these areas space, part move crab this area delete and being disliked. Okay, so there's that peace is going. Drop the other piece and Rocawear Or we could just set this multiply while we're here. And yeah, I like that. I actually think I like the upper arm darker for some reason. So again, we can create sorts of, you know, a little bit of variation as we do this because it just, you know, make sense. And I'm also gonna rotate the texture, re scale it again. Remember that, you know, maybe something that's more spiritually like this, or it's kind of Ah, bigger spherical shape. We can go with that edit transform, mess, transformation on You can do a few different ways you could. You could mix around rotation, match transformation. Remember, you can up the nodes. I don't think it really need him on this. Ah, Plus, when you make too many nodes in here, it becomes really easy to kind of makes some weird artifacts. I tried to choose a couple. I think it works fine. You really just want to pull the sides to the edge more so it looks like it's, you know, rotating around a little bit more. But this should be fine. Ener said to multiply and against, like, the arm forearm copy, man shift. I back to the shoulder piece had delete Mandy to de select so on and so forth athlete there . And I will turn back the opacity a little bit. Something like that. Okay, so there's pieces toe that, um and then just get the hand dropped in real quick. So said other texture I made You know what we could probably get away with? Just dragging the shoulder piece down Manti skillet. Right up, Corporal. Hand that form. Where to go? Right there. And there we have it. Okay. So that gives us our texture over the whole thing hoping to see it's made it a lot more depth e and interesting. Ultimately, given a lot more of a realistic feeling, that's what texture does. So let's go and conclude here had over to the next lesson and talk more about how to introduce some of this mood board into our art piece. So with that, let's move on. 15. L14 Applying Texture From Our Mood Board Reference Part 2: All right. So let's go and organize this a little bit too. So now we've got all these different textures over the same area, and it's not necessary. Right? So we concert emergency together. Let me actually take the a passive a hand down just a little more. And maybe even the forearm was that would have So you kind of want to get Theo the intensity. Private bicep. I thought I liked it a little bit darker, but we'll lighten it up. Okay, so we're gonna dio you could do it two ways. You can hit command e and go down that way. You just want to get all of them on the one layer after you've kind of decided that it's about the right intensity of the texture that you want. Remember, we can still go back in the race parts. We can bring parts out with over painting, which I'll be showing in a little bit. Um, the other thing is, I brought in another texture. And what a plan on doing with this one is just incorporating it over these two areas so that there's a little bit more variation to the parts now. Obviously, I don't want it. This tone, I've already distorted it into place and cut it. It's all redundant. So I just want to save you some time. As far as how we're gonna accomplish that, I also cut out the areas that I'm later gonna introduce. A little bit of light too. So what we can do here? I really just want the texture. I don't want that color. So I'm going to go to edit total correction. You saturation luminosity and just drag the saturation all the way back. I thought I dragged it. There we go. And you see it. Just convert it to a grayscale, which is better for using this multiply effect, then see, just like that, it made it much darker. Gave it a different look of, ah, material that, coupled with changing the color of the underground underlying paintwork, remember, we have our flood fill right here are based color. Basically, um, make sure let's even do that. Let's name that flood fill based color because what you can do is have to apply all these textures over top. Um, you can just change this in any number way, selecting areas, using the sliders right here. Total correction hue saturation. He could play around different hues. Eso you can edit lots of things like that and it's gonna affect everything together. So I just want to show you that because it looks like we got quite a few layers here. But if you really start to organize, um, it's not that bad. So you could go selections. Spell it right, Of course, Selections. And you could click here, hold shift, grab these selections, drag him into their and those air out of your way. So you've got the overall line work at the very end. Got some highlights. Weaken Start to merge those down as well. And actually, these need to be on top of everything. We've got texture, too, and we've got texture one, and that's all together now. So get rid of that copy. This woman should organize this as we go, and then you a texture to this isn't really the locum after, so I could bump back capacity again and see if there's any parts that kind of looked better to me. I also want to make sure these light sources, uh, you want to see if they look any better on top of this. So I'm gonna bring those. Top is generally your light source will be on top, but you see there washes it out. But we can also take the light source. Make sure that we put something like color dodge or glow dodge. You know, again, you could see all these different effects. You see that now, the the highlight grabs from some of that texture. So that could be nice. Um, it's obviously a bit too strong, I think so. I was told that back, but you do want to play with the hierarchy. But generally your light sources were gonna gonna stick together. Textures are going to stick together. Your base color is gonna be at the bottom. Let's you've got the line work for the bottom that could stay there. And that's our base color for that. There's the shadows. Yeah, let me see. I think I might like the second texture. Overtop, it seems, look a little bit more realistic. It washes down that strength that highlight, but But actually it is creating a bit of an artifact. So let's on. And that's probably because of the glow. So let's put that back to something like screen even normal Because we got to remember, too, that all this information can be utilized toe over pain. Okay. And that's really what I tend toe finish up on. Like, once I get enough of this going, I start to get my own confidence with what I could do with this. So, um probably show that now let's go ahead and do some over pain. But e think I still want that stronger highlight. That's the lights horse. Little bit like that. And the other thing we could think about what? That texture. More thing I want to show you. Okay, so what? This particular texture? Let's bring this back to the top, because I do want to show you this effects one more time. So say it's very dark like this. Okay? And that's obviously very distinct. It almost looks like a paint work at that point. That's not really what I'm going for. I want texture, not paint. But I also want to show you that after you convert this down to a grayscale, essentially by de saturating it, you can also go to edit total correction, reverse grade in and what that does it flips dark toe light. So sometimes this could be really nice, especially if you're trying to bring out some light source like this. So now I flipped all the everything that was light is dark. But then I told that to be a hard light so you could see it took most that texture and it made it a brighter light source. I don't know that I like that entirely, but not a full pass it anyway. So again, I'm gonna push that back. I might jump in here with the erase and then raise a lot of this back to kind of, you know, seeing to it a bit mawr just keep bits and pieces of it. Don't be afraid of race right through the middle. I don't feel like you would see any of us in the shadows. Looks a bit confusing there. So I would embrace it back in the shadows because again, I'm trying to pull apart Are, you know, pull some of this highlight. So I'm not gonna see all these old details in the shadows. If they are, they're not gonna be gonna be white. They're gonna be, you know, dark. So in the bicep. I keep raising over there and again the shadows there. Get those out of there filling. Ah, light source in there anyways, sometimes it's just practice a racing right through the middle. Okay, so let's sail. That looks title out. I don't off the visibility. Yes, and I'm starting to like that. I think that it had just a little bit mawr depth and dimension to this material. Let's check it from a distance, and you know something I always keep in mind when doing this and again, you can really tone this back to your heart's content doesn't have to be ultra visible. The more layers of texture reintroduced really feel like you're gonna have to pump back the opacity and a race back certain areas and pick and choose. There is a like, but something that always comes back to my memory when I do. This is I remember watching the production of one of the Hulk movies, and I was so impressed with it when they did the full three D version of hope for the first time, even though now looking back looks a bit silly and strange and areas but but one of things we talked about is how many different textures they needed in three D to make skin look like skin. So I just I want to share that with you, because again, I think that a lot of times when you're doing this, you have to kind of go a little too far and then try to pull back. You have to really test the, you know, the boundaries. And, uh, you know, texture is a pretty good example of that because there's just so many different textures you could really incorporate. And, uh, you know, you're eventually gonna figure stuff out. You're gonna fall on things and land on things that you like, so just play around that. So let's go to the next lesson. Let's do some over painting. I think that will really show how I can bring some of this out more and make some better decisions. So with that, let's head over to our next lesson. 16. L15 Overpainting Part 1: Okay, so now what I want to do is a little bit over painting. I also want to show you real quick. Just, you know, some of the different ways you can do this. So, for instance, you could take everything minuses, background and my dessert selections. You could take everything else in this layer. Our group, I should say you could right click duplicate this. It's gonna be duplicate layer, but it's gonna give you everything in that group. Convince us down can I don't need the background for what? I'm gonna show you here. I don't need the selection layers. And this is a copy, remember? Hold shift top to bottom. All those air highlight of right click. Let's go merge. Selected layers. Okay, so, no, yet just the arm. Okay, so if I take the visibility off the previous one, this is just our backup of the arm, okay? And I really like to do this over, you know, trying to incorporate correction layers that you can still use correction layers and layer mass and things like that. But I explain those more as we do the more advanced projects. I'll shake correction layers, so correction layer quite simply, is just you can change some aspect of it without damaging it. So, for instance, you could do Let's say we wanna change the overall hue of this. Okay, so you can do this. And you can really quickly. Uh, since I could get a hold of this little I got he always use my mouse for this. My tablet doesn't grab it as well. Come on. Ariel wouldn't move there for some reason. Okay, so you see, we change the colors really quickly, right? So this could be highly powerful. And what happens is again, I like making the copy and place it over top. It's just a different way to do it. But what happens is I can, you know, mix and mingle these effects together. Now, obviously this applying it over everything. So generally gonna want incorporate the's in the hierarchy of where you want it to effect. But in this case, what I like to do is just, you know, affect the whole thing. Um, a zones. It doesn't negatively impact certain aspects of the work. It okay. And then I can It's nondestructive. So if I turned that off, it really didn't destroy this one here. Same thing with the hierarchy. If I put it in the middle, it's gonna affect everything below so but I didn't want to do that. You still want to keep the background intact here. So let's say that I want to take this and I want to race it back now and go to the mask here and I can erase areas back. And I can have, like, this kind of chameleon look to the color. Okay, so it's get It's like this blue light source and the highlights and this purple. You know, again, it's kind of a little bit like a chameleon. That's not what I want to do here. But what I'm doing is trying to show you that these do have some pretty cool effects, and again it's nondestructive. I'll talk more about these. Like I said in a more advanced version, I want to keep this relatively simple, and for me, once I get to this level of paintwork, I generally could just make a copy like this and then I can, you know, like before it can generate a selection. It's like from layer creates selection, and I could just add a layer over top and this is gonna be my over painting. So what this really is to me is, once I get to a level where I feel like I'm pretty close to being done, obviously I still gotta paint this stuff in the background here. But while doing this top area is I will just take from what's in front of me and I'll start to paint with it so I could use salad brushes. I'm actually gonna start with light source. I'll show you I'll put this to a glow, Dodge. It's gonna give me a very strong light with anything I paint. So if it's a solid brush, even a pencil brush like that, it's gonna be a very solid line. Now, I'm not gonna let it stay bright white, and I'll show you what I mean Here, I'm just gonna try to build in some more texture. I do want to bring out some of these highlights to the edge. So the feature lines and so what I'm gonna do is picture where the light would hit on each side of these feature lines, and then I'm going to blend this back as I go So I want some areas more defined, other areas a bit softer and see, like this highlight here. I'm not a big fan of where it's at, so I want to move that over to this future line. Then I'm gonna jump back to the previous layer, and I really want to use more solid brush to move this pain around. I'm just trying to get rid of that fate. I feel like it's too high. And if I get too much of a blur in here and it starts the the tract away from what I have, then I just want to get in here with a solid brush, hold all. And I just want to paint back in some of that texture so I could just grab the neighboring textures. Never be afraid of your your painting something all sudden you get like, this weird blur. And, you know, you think that you went to many steps in the wrong direction. Just grab your neighboring color and you see him picking the brush up and I'm putting it back down because I'm trying to emulate that blotchy nous. So if I just painted all once, I'm gonna get just another problem. I'm gonna get another flat area. But if I dab it in there a little bit and I got to remember, this is I could really take the highlight off. First, I'm gonna reintroduce that so I could take that off so it's less distracting. Hold all again. I'm just going to Dad this around. I could also grab the Jeep in, which is very solid, and I could really kind of expedient this process again. If it looks like it's too much, just go back another direction with that, grab some of the other neighboring color. But I really want to push this back. Uh and then also I can jump in here and blend a little bit. Not a big deal, Doesn't you know? I don't think it's so bad of a nice or now I can also take the soft brush, and I could try to paint back this way as well, but that's going to soften it up. It's going to take away from that texture, but I'm trying to get that that weight out of their first, then, ah, probably easier to come back with texture, and I always feel like the pencil brushes. It's a great way to pain. It's just a nice mix of salad edging and that I can control the transparency. So I like I like texture with that so I can add that highlight back in again. I've got it more on the ridge like I wanted. I could blend off these edges. I'm gonna make sure back on the light source like that could blend those edges a little bit . So I don't want to be a strong on this side. And I can also blend that by using a softer race. So I don't create another smudge. So it's probably a bit more effective. Not those back with the race, Really? All these. I just want a few areas where it's more defined. Hold hole. I can select here. So again, I'm gonna texturizing right here. And what I want to dio is just kind of scribble a bit some. I'm looking at the texture that we put down from the various resource is and I'm trying to , you know, grab some ideas from that and then elaborate. Now I was gonna get rid of the line work, but I'm actually kind of like in this looks, I'm gonna leave the line work in there. Obviously, that's why emerged it into this previous step. But there's, you know, you could You could do away with line work and you're just gonna have to tighten up your edges a bit more, just picking apart little areas where I think Light might hit. You might get small scratches and actually back to our reference. I should have us zeroed in on this armor. I think that should give us some good reference points. So what kind of like catches those edges, especially anything that's raised a little imperfections? That's really what I want. Toe. I want to see in this as well. I want this thing to look like it's it's been through some battles. Also, you're gonna want to play around with, you know, marks that go right over the The plane changes so you might get some tiny little imperfections on the edge, is there and you might get a scratch that goes right through, and you can show that Anglo as well so you can have it coming this way on down this way, and it's going to show a little bit of that depth that angle change. I also feel like I want to see even if it's slight. I want to Seymour light source to these feature lines back here. I can always erase this back again. It's a floating layer, So just bring out some of these and small perfections on the very edge. Don't be afraid. I think I've already mentioned Don't be afraid to scribble. But also, don't be afraid to just dab. So like, dad, little dots and little you won't really know what's gonna work until you stumble upon it. I think at least that's tend to be the way that I work eso. So you have to kind of make a bunch of different marks. Uh, and again, that layer eases your mind that you can just get it out of there if it's not working. But, yeah, I think you need a lot of little imperfections and Marx to figure out what's gonna work. So say, you know, this is looking like too much, you know, I like some aspects of it, like I like these little areas right here, but I don't You know, the rest of it looks like a bit too. All over the place. So I'm gonna set this to a race, okay? I'm just gonna push some areas bag and again, I'm kind of scribbling as I do this. I'm dabbing and moving around because I want a randomness. If I If I draw everything on a You know, if I draw too much, basically keep drawing everything, I'm probably gonna get less of a randomness. I also want there to be a shadow layer. Guess I'll add that right now. So called this highlights. You know, this is on top everything. So this is kind of a final highlights and shadows that I like to do, so my over pain And if I didn't have a blending mode here, I do it all on normal mode. But I wanted that highlight for the highlights for to be at a stronger glow dot So that's why you see me using two layers here at the very end. But then what I need to do here because I got a picture of these areas where you know, where is the shadow gonna be? So if it if lights catching this side of the the edging there, then the shadows gotta be on the other side. Right. So lights coming over here, you get a shadow from the side it can't reach Ah, highlight on the other side. And that's that should stay consistent as you move through out. So you're not going to really see the shadows much right here because it's facing away, but you're still going to see a little bit. So we're also gonna control the thicknesses of shadows as well. And some areas you're just gonna kind of dab it across and, you know, kind of hit to it almost like you're doing veins on an arm, right? Same kind of concept, really. Although the shadows actually different because veins air raised, not indented. So you gotta think about the indentation. Uh, and you know, the way that using these these shadows and highlights, So right here it's gonna catch the light going away from us. So I'm gonna put a shadow closer towards us for that makes sense and put some tiny little imperfections on the very edge. So you can really just go wild with this, okay? And I don't want to get too far into this because I could doodle and detail for days and face. But you want to get enough of it where it it reads well, like it makes It makes this interesting. It makes it look, you know, whatever your level of realism is. So let's go and take the selection layer for selection layer. Entire arm. Okay? And turn the opacity off there. So just like that, we've got the shoulder started. You know, we keep continuing on with our shadows and play around with the but you're going to see less visible shadows in the light source. You can have some of that, but you gotta race that back a bit. And obviously, as they go into the shadows, you're going to see more than especially in the middle. What we can look over here. Where do we see it? We don't see it in the bright light source. Okay, it becomes white, and then it fades off. These are all kind of mid tone, mid values. But you see this blah chair darkness as it moves to the shadow side. So just pay attention to the reference, and then try toe. Bring that over here. So I actually feel like I need to just get those right out of the light source. Okay, so let's do this. Let's move down to the painting. Atmore this effect and continue on. So with that, let's move on to our next lesson. 17. L16 Overpainting Part 2: All right. So let's continue on adding the little bits of light source here and there. So again, I'm gonna go around the edge, pull some of this out. Lawyers like this. I noticed here I'm using a soft brush and set the shadow, but it's always the normal mode. It's basically a normal brush, but even a soft brush, very small will give you the type of line they're looking for for the simple work. It really can. I want to stress. It doesn't really matter about the brushes. Brushes are time savers and could be handy toe have. I do make custom brushes. They are very, uh, effective at times, but it doesn't make you a good or bad painter. You basically have to understand how to break down stuff and recreate it. Um, I would say that to really be an effective digital pain or so don't worry too much about having just the right brush. So again getting in here, adding these little highlights to the the benzoyl areas. I think that looks I kind of need doesn't look very realistic, but I like the look of it anyways. Not really going for extreme realism, remembers is dabbing little imperfections as well. It's a little little dots things, and they don't have to be straight lines just kind of play around the different things that you can imagine in this area. And that's really what I love about adding. All this texture is it just gives you a lot of good reference food for thought. So, um, you know you having a tough time coming up with ideas? I always create a mood board, create reference sheet and then just practice grabbing bits and pieces of it. You don't have to. It doesn't have to be so specific. You don't have to try to recreate exactly what you see, but you can definitely try to harness some of the ideas from it. You'll see much in the shadow, some press and really light for add anything at all. These we could also again. I think I mentioned it really mess up those edges. Just kind of some little imperfections on the very edges might even need Teoh pick back normal mode. So if I go to um, are you know what, I'll just do this. I'll go back to the part underneath and that will basically allow me to pay in normal mode and I'll just erase some of those old lines left that line work. But then I have to make sure that it ah doesn't interfere with the highlights. So little areas like the somebody just paint those right out of there. Okay, let's move down. And actually, I want to get this. It's right here, out of there again. I'm painting on the base layer now and just kind of maneuvering some of this stuff. So I don't like those and see came down a bit. Can go to my shadows copyright quake and get the the shadow to this one side here as well. Se Hopefully you see, this is this is repetitive. I'll not born you with this part, But this is kind of what what has to happen. I feel like this part. I learned Maura's well because it's so easy to drop texture in. But then when you do the overpaid, it forces you to kind of learn from the texture. So there's a lot of a lot of good information that you pull from doing this stage of the work, and I'm Skilling the brush down with my bracket key because far too large and again, I'm trying to bounce around, create texture, create variation and randomized that that pain and some of it will turn into a good idea. In other parts. I want to, ah, race back, Chisel it. I kind of think of it like my mom. I'm sculpting these little marks. Even so, if I but one that looks close, it could be a good idea. Maybe I can push it around by blending or erasing and essentially sculpting it to look like something a little bit better. Remember to like, even if you're running a straight line like a scratch, you want a bounce in and out of that straight line. It looks better than just one line one line itself. If it doesn't have any change in intensity, it doesn't look what like what we see over here. Notice that a lot of these even the even the swirl marks camera what that's called brushed steel. I guess even that has areas of intensity where it dug into the metal mawr. Unless so same thing over here for it to look more realistic. Just get away from, you know, lines that are too awfully clean. So if I run a line this way like you see me doing there, maybe I just need to break it up in the other direction a little bit. And I could bring that up more with shadows, like have been doing. But see, I'm just again just kind of scribble. I would have thought they spend all this time learned how to draw on painting, and you go right back to scribbling. But that's sometimes very necessary to make things look, uh, random bring out a little bit more light source on this hedge. So making the brush larger and just kind of beefing up that light actually needs to be a little bit more white. It's kind of bringing out too much blue again. I can come over on this edge and bring out a little few little spots here, and I take it too far. Just race back. Okay, so this part's gonna be overly redundant. I'm just gonna continue to keep refining this. So let me kick this into time lapse. You can watch the rest of this part come together, then we'll go back in the real time and explain the next day to the work. So with that, let's move it into time lapse 18. L17 Adding Lights to Our Robot Armor: Okay, So what's add a new layer? He and we'll start with the kind of a lime green. And this is a nice because we can edit this part of color wise pretty quickly, So I'm just gonna draw this in. Doesn't need to be perfect, because it's we're gonna kind of had a glow around it through it, So it's not. I try to get it as perfect as you can, but it doesn't need to be absolute perfection. So some like that. I think I'm gonna make this part late. Oppa's Well, if you do want this cleaner, it's probably better toe. Here's the point by point selection Mason close. I tend to find it and get a decent enough result with just the the jeep and hair. We don't have to worry about all that texture that was in place because this is gonna go right over top. This is, ah, pretty strong effect. It's actually pretty easy. So hopefully remember the light bulb. You get reference there. It's basically ah, hot spot in the middle, and then the faith gets darker as it goes out, but also it has a airbrush kind of transition, or Grady in from that center out, That's really that's really it. It's really just getting the right amount of all those things you know, like the hot spot in middle and then the blend and the highlight blending around the fading around the edge. It's getting that nice, subtle combination of those, and you can generally do all the effects power facts with that, whether it be lightning lasers, you name it lights on a machine from robot you don't see. I feel like these shapes are too repetitive. It's kind of something that I'm looking at, not really liking as much, but it doesn't bother me enough to not want to complete the work. So there's always those those parts your work where you just I want to keep at it and keep keep messing around to get it just right. But then there's also that part. Where you guys well, is it good enough for today? Because I had to get the work done, so I really stress that to ah students, fellow artists like, yes, you do want to make things as good as you possibly can, but you also got to keep your your eye in that clock. It's just, you know, one thing. We don't get any more to any more of his time. So being fast and ultimately not striving for absolute perfection, I think is important. I think perfection, the idea of perfection can really drive us nuts. And, uh, you know, you're just gonna get better with each piece. You crazy? You're I'm sure if you've listened to any one of my any of my lessons and classes and videos, you've heard me say that cause I I think I reiterated a lot, but it's really important because I've seen so many. Could artists get frozen in time by not completing the work because they're just trying to get better. So you have time for studies and you have time for just getting the job done. Okay, so now we've got the areas that I want to use for the light source we're gonna do is lock transparent pixels again. I can come in with the soft airbrush ago and old Ault that we've got both colors here because I'm going to take this one, darken it down a bit. And I could even just take black set the multiply, I guess, But I'm just gonna dark in this down. And with that selected, I'm gonna hit the edges, try to keep a lot of that bright green right in the middle. Something like that. And I just want there to be some transition from kind of with a hot spot of the light is so if we picture there being a light behind, maybe you know, a clear metal or glass or whatever this is well say clear metal cause glass would obviously break pretty easy. Soldiers say is a high tech, clear metal. But just like that, we get a little bit of that fade going. They wouldn't want to fade the back here, kind of like a little bit, but And then from here, we can just, uh, could set this to Glo Dodge, so that starts to bring out some of it. But what that's gonna dio is it's gonna bring out the underlying texture of it. I don't really want that someone set that back to normal mode, But then what I can do over here is I can ADM. Or of this effect with the actual blending mode. Um, so let's try that. Let's put it on at Glow. Let's take off like transparency cause I want to see if this will at the glow and then hit around the outside of it. So not really it'll. It'll make this look like it's glowing a bit more, but it's still not the effect I want. Think I'm gonna have to do a layover time. So now if I was painting right over the flattened version at work, no problem with the blending mode. So you have to remember the blending mode is gonna work with whatever pain it has here. So since there's only the smaller area of influence of pain, were not getting the bleed, that we need light wise to the rest of it. So I could merge this and add my glow effects right at the very end. That's generally how I do it. But another way is just to simply take ah and ad, uh, the air of influence and paint. So let's try that. So use our let's see a normal mode, just testes area. Make sure it's gonna work first. Then I will switch this dad glow paint the middle of it. Now he sits communities that bright spot in the middle. And then if we switch this toe aglow, it's gonna have more of an effect because it's working off this bottom pain that's blocking it from not affecting the layer like it did before. Hope that makes sense. I'm layering the effect to get what I need, and I think that's pretty good. That's that's pretty accurate. So now I should be able to paint just as I was before now. No, I do stuff to put that, uh, layer first putting in that layer of paint. I want that light to spell over. I could really get in here and I could have it hit these edges and bring those out. I knew the side of this vessel here. I could really can't go crazy with that. This one. A little bit of that light bleed with that. And then let's go back to add glow. Get a little bit of that hot spot in there. Okay? Go back to normal mode after had to hit that one air right here. So again, I'm blocking in the normal pain, Then using the blending mode toe at the CLO that makes sense. Little hospital. I could just I could paint those all of primary colors as well. Normal motive. Just but you have to kind of understand the glow effect mawr. But this these custom brushes are blending more brushes. Kind of help you figure it out. Do you think a little bit more of the effect that it has on the metal? It's really strong showing, in fact, those who got kind of be subtle with it. Okay, so let's see what that looks like. I think that reads is a glow. Okay, so no, it's good And do this. Let's merges together. You see, it changed it a bit, but I think I think I might like that more, except for what it's doing to the rest. So essentially what? It's doing their emergent together, and I have to set the blending mode again. Let's make sure it didn't wash that effect out. So this is always tricky, because again, these modes work off the underlying paint. So as soon as I emerged an ad glow to a normal shifts at a bet, I have to set that back to Glo Dodge Oreck Low. But I think that still works. Yes, it looks like it's going so it's good. But now the neat thing about this is I can, um I could change this rather quickly so I can go at it. Total correction, hue, saturation, luminosity. And I could just move this slider around and I can get all sorts of variation. So I'll tell you. This right here is just really great for when you're doing client work. And, you know, sometimes they want to make incremental changes. Or better yet, they want to see something in, Ah, a few variations where you can quickly add variation like this, the certain areas of the paintwork, and it just saves your tremendous amount of time. So makes you, like in a few of these, more than the lime green now always like lime green and blue. Then maybe maybe that kind of bluish purple. Yeah, decisions, decisions. But you can really you can do this and it doesn't matter. So, for instance, you could make a copy of it if you like, but it's not gonna hurt. You could put it at this purple right there. Hit. Okay. Name this light effect or whatever. We'll just call it light, and then her lights. I should say And then after that, if you want to change it back, it's easy to do. You just go at it. Total correction, you saturation, and you're gonna be able to get right back to those colors. Maybe a bit more variation. But you can still go through the whole spectrum. So there is that initial lime green or close to it. And you couple that with, you know, playing around the luminosity, saturation, things like that. I kind of like that. Okay, so now let me do this. Let's do one more or less than I want to show you how you put what I call you know, like or what's referred to as kind of like war paint on this. So I think that'll be a nice way to finish this up. So with that, let's move on to our next lesson. 19. L18 Adding Markings to Our Robot Arm: Okay, So I threw in a little backdrop to bets release. He just couple of squares overlapped and merging down. OK, so now what I want to do is use one more. A little bit of reference. So this is again something I picked up off a picks. Obey. I'm not going to use it exactly the way it is, but I like the simplicity of it. So because I'll typically try to draw something, I'll go a little to advance. This is nice and simplistic. Uh, so what I'll do, I'm gonna show you that tracing isn't always wrong can be. But in this case, I'll just, uh, bring it over with a quick variation to it. So actually change it a little bit. I just like again that overall simplistic shape, but I will change it just a little less to go here. What kind of a trace? But not really. You know, I mess up. So you see, I'm making it bumpy and in perfect. I'm OK with that because I kind of picture like that. This is something the soldiers painted on the you know, the robot or something. Maybe it's not so machine and engineered into the, you know, the paintwork. Maybe just something somebody threw on their after the fact. So who knows? You just really have fun with these concepts. Obviously, bone over here like Troy, my bones a little more animated. That kind of Scooby Doo can bone, I guess my, uh, Dario just like that. And I don't think I want the separation of teeth of sale this fills on. But the main thing is quick and easy because it's not like this is a defining characteristic of this. This thing is just something I want to add after the fact we'll bring that to the top command teas, scale it down, figure out a cool spot for it may be on the front there. The BIS. I mean, you know, it could really go anywhere. Um, whatever looks the best, I guess. But play around with the opacity. Let some of that texture show through. Think that's probably a good idea. I feel like it would probably make the most sense up here on the shoulder like those. No, a bad thing is a SP, but smaller. But it shouldn't be overpowering anyways. It just needs to be if you know one added feature. So I think something like that looks decent. I'll let it sit there always any of this work. I always put it in place and then I walk away from it. I go do something else. I work on a new piece that come back and maybe an ideal hit me. Eso just keep that in mind last time. You really can't make every decision right At the moment that you're trying to finish the work. I also think it'd be cool to add some kind of number. So let's put like X one, and you click and drag across that over here. I'm just gonna look for something that's pretty blocking and bold. So scroll down through hair. It's either gonna be aerial black or almost wouldn't mind a stenciled lettering, but and I don't want anything to animated to Fun needs to look a bit serious for something like this. There's a stencil bowl. Let's see what that looks like. Yeah, I think I like that. So let's take that. Let's remember that if you want to edit this further, you can just right click pasteurize it. Make sure to do that at a large enough size where after rest arising it. It doesn't negatively impact the the resolution of it, you know? So you consume up and there's a nice tight resolution hold shift, and that will actually snap it the same, you know, level orientation that it was on so selected hold shift, drag it over. You can fill in those gaps. I could make the X larger. The one could be Ah, a different color. You know, the dash could be whatever. Um, I think I'll just go with that, though. Keep it simple. Okay, Command T. Let's rotate that. And I think I would like to see this up on the top of the form piece. Significantly smaller again. Bump back capacity. Yeah, and I think I like that just again. Adds a little bit more flavor to it. And you could keep going with this. You could add another layer and you could do some actual. I think I mentioned Warpaint, but really, these would be more markings, but you could add some camouflaged like shapes. So hold shift these air Good to just kind of draw. And you could pencil men as well, but they don't need to be perfect, just kind of blotchy and in perfect is better abilities wrong in different spots. Fill those in kind of dabbling with the bucket there and d again drop back capacity so you could do something like that. You could mix that up, what they actually could. It's live transparency here. Let's turn these to a green or maybe a ah Blewett screen. Let's try that. Got a lot of blue and purple going on there on. Drop that back or multiply. Here we go. It's kind of neat. I mean, that's the first shot at it. I would definitely get in here and play around with these shapes. It's on live transparency and, um, you know, see if anything sets are sticks. I should, Steenis said. See, yes, we throw it in there. Actually get better with the the last hole tool. Just Charlie's kind of randomized shapes and there are lots of bumps can pull reverence if you can. Can't figure it out. Drop it in there with the paint bucket tool and then mix it up. And you know, you've seen different types of camels. You could do a dark light, and you could just keep building up on that. Um, let me see if I had this. If I keep, like, remember to when you go over a plane, change that it should go up and then over. If it's all the same connected piece, it needs to look like it was painted on there. But then it hit a plane change and it had to go the other way and, you know, have fun with it. Put trips in there. You can hold shift and had to These shapes put drips and little imperfections as well. So just, uh, all sorts of neat little things like that. My couple little small spots again. You could have one where it's comes down like this and it starts here. You see a little drip coming off it or something? Can you just gotta play around that fun with this stuff, you know, kind of like that, But it's It's almost too much for things Great. It just seems like there's a lot going on there, so I would probably leave it like that. I'm kind of liking it the way it is. There's are a ton of stuff going on, but again, I just want to give you these options? Um, one thing I might like to see, though, know that I'm thinking about my I want to see these in the color. Let's try that. What was that? We filled it with this. And then the blending load was multiply and then tone back. Yes, I kind of like that Better than black. Think. Let's try that on the skull and see if looks good. Bring that appear transparent pixels fill that in, set it to multiply and tone back capacity, Actually a little darker right about there. Yeah, I think I like that. So there you have it. There's our first example. You know, we'll get into some or and hopefully this gives you an idea for how you can work through all these different effects and come up with what basically can turn into the rest of a robotic creation and character design. It all starts here, but I think it's important to practice these bits and pieces, you know, just going for an arm, working all the details here, doing some variation. And then when you go to do that big, crazy monstrosity, you know, with all the different moving parts you can always kind of relate back to this. So eso hope you've enjoyed this series of lessons. We'll move on shortly. So thank you for watching and one way.