How to Draw and Paint a Werewolf in Photoshop | Chris Scalf | Skillshare

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How to Draw and Paint a Werewolf in Photoshop

teacher avatar Chris Scalf

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (1h 47m)
    • 1. Wolf 1

      6:47
    • 2. Wolf 2 edit

      18:21
    • 3. Wolf 3

      2:40
    • 4. Wolf 4

      8:06
    • 5. Wolf 5 edit

      12:47
    • 6. Wolf 6 edit

      11:24
    • 7. Wolf 7

      7:11
    • 8. Wolf 8 edit

      14:11
    • 9. Wolf 9

      13:22
    • 10. Wolf 10

      12:11
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About This Class

It starts as a doodle, with some real photo references off to the side. No, not of a werewolf. Of some dogs. Then I show how it can be fun to create a spontaneous illustration of a crazy fictitious creature... But then also, show how challenging it can be to try and make it into something acceptable to the artist when you follow that path. It's a great exercise, and you will witness me struggling a t a few points and then finally resolve where I want to go with this kind image. I believe it is important to share this aspect, as I have met many artists who run into those snags where the art just doesn't feel right to them. And then they STOP. Don't stop! Look for alternative paths! The ending can be rewarding.

Meet Your Teacher

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Chris Scalf

Teacher

Hello, I'm Chris Scalf.

I am a professional illustrator/animator working mostly in the commercial art industry. I have also done some published work in comics industry and science fiction and fantasy books. A lot of my followers previously knew me as CGSBGS on youtube, where I showcased a lot of dragon speed paint videos in the mid 2000's. I will be adding a lot of different videos and tutorials on here, anywhere from traditional medium to digital, and animation/3D. Please feel free to reach out to me and request specific tutorials you would love to see!

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Transcripts

1. Wolf 1: Hey, everybody, It's Chris Scalp and time for some more art. Um, today do Ah, digital doodling on, uh, by doodling, I mean, I don't really heavy planned out picture. I kind of have an idea, but no previous thumbnails were created Anything. But here's what I got. Um, I love how you can just get references from life around you in your own home. In this case, dogs, my dogs wrestling plan being crazy. Sometimes I just like to turn on the iPhone and video, record them and get screen grabs of the video. Look for things I can use a piece of art. And as some of you know, I like to draw a lot of wolves wolf like creatures where wolves and stuff. It's just, uh, kind of a fun little activity I do just to detox from the everyday craziness of deadlines. You know, it's kind of ah, autopilot type drawing thing. I do. Just relax. So, um, here I got had some interesting references, and I'm gonna show you how I can actually use this. The characteristics and some of the details on this to create a, um, concept of a wolf where wolf type creature, even one heading to the video capture snapshot of my hand just to use to make it more where wolf like, so gonna get started. And what I'll do is I'll just create a new layer. And my campus, by the way, is, uh, we got eight by 10 at 300 DP I So that's what we're going to start with. And, uh, brush tool. We'll start with the, uh, soft edged brush. And I'm just gonna go ahead and start loosely sketching something here based on the opposed something like between. These two pictures were here, so it's gonna be really loose. Just kind of sketch this in here, not following, you know, exact details of these guys. Did you like the expression of this eye Right here. So I probably make it, uh, like this, I little more wide open if I use mostly this pose like this posed by, like, the detail that you can see in here with the lips and stuff so we'll see if we get out of it again. I don't have this planned out. I'm not sure exactly how I'm gonna combine these elements yet. I'm just experiment. So here we go. I just couldn't drawn in that rough shape of the mouth right now. You know, separate layers. Aiken, grab the move to moving around as needed. Oops. I can also rotate it like this. Maybe I'll take this here and selected and free transform and just kind of exaggerated A bit more. Okay, I think I make this a little bit bigger. Make it just really take up the picture and catching the eye here, put it right around there and maybe that side of them off a little bit. And let's see, I'm gonna make sure that this mouth comes back fairly far. Maybe it'll be I forward better. I just selected it and believe actually cut. Okay. Getting comfortable design here. And when I close off my lines on here, this is just a preliminary type. Sums sketched him and probably we draw about, do their here in a minute. Close the line. I can select the outside the magic quanto que for quick mask, check my selection and then select in verse. Just go back to my brush tool. Tell her mode it appeared to top on. I'm just gonna pick a great color. Just kind of blow that in there. This is the wolf layer. I create another layer for the hand that separated. Let's see, get this down here. Just kind of loosely sketched that in same way I did the wolf's head. Pay attention to these increments Now to be there. Fingers, thumbs, They put a big claw on there. Try to keep my lines close. I could do that select thing that you just saw me dio and down here. But it's not going lined up in there. Yes, that should be good again. Magic wand que Take this election. Thank you to get out of it. It's like in verse and be a brush Stellan color about up here My pick a different tone the gray here just they stand out. Maybe I'll go ahead and size that up a little bit more like so all this layer hand and there's our start 2. Wolf 2 edit: all right, We've been right along. Um, just looking at this. And the first I was gonna turn down the opacity and redraw the line cleaner on top. But I'm just gonna go real down and dirty way and just use what I have here as the art. So, um, I'm gonna turn off the hand layer and just kind of concentrate on the wolf one for now. First of all, I will. I'm not going here and try toe bury some of these sketch lines. Um, I guess I could do a Gaussian blur and just about that much right there and maybe noise. Dustin scratches filter on top of that, they'll just kind of knock all that back. I don't have to go in there and rework all that. You know, this is the kind of work I do on a time budget between deadlines. So I try to do this stuff as quickly as I can since I'm doing it just for fun. So first thing, I'm gonna grab the number 14 14 sides spatter brush there and sized up right about like so using my right left bracket keys again, Teoh, Besides my brush up and down. I'm just gonna come in here and, you know, smudge using this much to a modicum in here and pull on this for just kind of stretch it out and get with more hair like pattern for my edges, okay? And then appear maybe a little bit shorter wisps. That said, it's not so much because I wanna cannot do a lot more wrinkles and things up here. Of course, the nose doesn't have any for on it at all. Just a Knowles. And then we get some nice, close up pictures of noses here from some other shots of the dog. Like this one right here is gets a nice texture in it that those reserved for my get around to that just come down there in the bottom. I have a ridiculous amount of stuff open on my screen, but I least know where it is and where can find it. So though it's not organized, it kind of is. I got the, uh, round edge, hard edged round brush for the part where I'm doing the these edges that don't have hair. I'm so used to working and not talking or thinking about what I'm doing that sometimes I accidentally skip over telling you what I'm doing on these videos. So I got my number 14 brush and I go back into normal mode. Always good to remember to do that, because if you don't be friended wrong, wondering what the heck's going on? Color mode, of course, just changes the colors of the existing pixels. And since black isn't a color, you see nothing happening there, My Grace Kellerman's and so, yeah, go up to go up to the top and make sure you go back to normal when you want. Add more detail and I'm just gonna kind of follow this a little bit. I do my own little details. It's not gonna be totally anatomically correct, but I don't really want it to be because it's fantasy. It's fun. It's escapism. I like to make stuff up and be crazy and break rules. But the art, it's what separates us from the daily grind of deadline work being able to do your own thing and there's the defined mouth going here and do the nose now looking at this knows I'll use that as a loose reference. I got that little shape going in there and then the I go a little fictitious here on the eye shape. Follow this stuff a little bit, but not quite. Um, not quite as accurately, because again, we'll have some fun here. I don't want to be restricted. I think I might, uh, he's the smudge tool. It's not a little bit more here myself. A little bit more extra room to put some more detail down. Stout. More variation back to the brush tool. Beaky. But those keys really, really hard on these videos. Just hear me do it. And you know that I'm making the changes. Just the PSA patches thing. I'm doing all right. Just kind of looking at a little bit of stuff out here, Not totally following an exact now, adding a little bit of contour risks detail, uh, kind of making this up. No imagining a little toughed out ridge right here. Some random wrinkles on the side, just texture and detail. Give it a lot more character and size up that number 14 spatter brush. Trying to get a little bit more texture and shading in depth in there. You know, at this point, I think I'm gonna lock this layer so that I don't accidentally go outside of my lines and mess it up. But that does take a look at this. He was in the other detail. I could get out of that. See some little wisps of hair in hair that can inspire you to, uh, uses reference just for the rules and patterns of how? For hair flow. Directionally, you have to follow. Exact what? You can get a good sense of the patterns. I love these spatter brushes and photo shop. They'll come over since full shops so far have come with these. Um, and you can really go very far with your hair tech needs. This looks low. Weird. Here. I'm gonna go back in the money so much to him to shake that up a little bit back and forth , B for brush and, uh, pull this out. So just kind of keep that open there. I do like the lighting in this. Probably follow that here in my my lighting, my picture. Cool that down. But some obscure wrinkles in here and the details. So again, I'm tryingto keeping this light source of mind. I can't imagine where the shading and what not would be okay. And at this lip detail down, they're pretty cool. Look at that here in a bit. First, I'm gonna use this mostly to lay down on this of the Southern main detail, but they give a little bit more snarl, wrinkle appear, have a lot more character dark in that detail, the nose a little bit on, uh, before I think about the teeth, just have a hard edge brush. Put all this stuff in here this dark, so they ignore the gums and teeth right now, just kind of lay that in there. We'll switch over to the this number 45 here, Speck out of control. Z put that down first. Lay down a quick base looking at this tongue. I like that. That's pretty cool. Well, details lay that in there. Those wrinkles in there following an exact relaxed project. Have some fun here. Not really. That hearing any massive rules rule we wanted to have fun and make this have some sense of depth. It's a little bit of a escapism escape the crazy grind of the world. No money grab. It's gonna hold on the old, but just grab a tone great from somewhere air temporarily created layer to start laying down on this teeth and stuff. I'm just gonna roughly under that in there. Still got that same brush. I started out number 45 to a palette. They're the best. Just concentrating on the gums. I'm gonna base It was gums. I think so. And, uh, yeah, I think I know. Switch over to, you know, change the color of the background so I could get rid this white I need to use wait to do all the teeth. Some of that. Let's go hit command l for levels with the background selected. Knock that back to something like this for now, and it save back into that temporary layer the way I just use it to draw my teeth. Now it's a nice canine teeth in here. Exaggerate my in just a smidge Use all too grabby grayer tone from within the shape I just made. I think I'm gonna cut this down, But he's the match this tooth a little bit more. Hit the race e free raise. Just cut away at that. Back to be for brush. Grab some of this, uh, reference here and it's loosely drawn, some nasty teeth there and then imagine this tooth would probably be right about over here from the other side. Is this smudge tool to fix a little bit of fatness accidentally put on that? I like to use this smudge tool somewhat as an eraser tool because you can put it back instead of just erasing you can you can actually use the smug told them take away, but also go back in and fluff it back out. So it's kind of a race or tool and somewhat of a painter tool on one back to be for brush would be looking at this stuff down here. Draw that in there real quick. Still got that. This brush here is 45 just up sizing it up and down is needed with my bracket keys Putting these teeth in there. The back was mouth come over here to this side exaggerating maybe a little bit more than what's in the picture. Okay, looks decent. Come down here and exaggerate this just a bit more than what we see in the picture over here. Sample some of that dark and knocking back a little bit. You have a color or tone from appear with the key. Look up here a little bit. Just cheat my teeth a little bit. You could make a few of them sticking out. It's not on this again. I'm exaggerating some things from fictitious picture. And this lip Just a little dark area there. That turns out. Go ahead. Emerges down. Command, he urged down. It's still locked. So I can go in and and tell him that back side where it might be a little bit more shady. Come up here to some shading. It'll be the radiance here and there. On down here. Yes, well, the pressure up, but some random texture. Okay, Um, not this back a bit up here, down here and get some I'm saving right there. You know, thinking, thinking ahead here. I might just go out and try to make this guy black. Black Wolf. Use this guy's reference. So just lay this down. Best I can. Back to a spatter brush or 14. I try to create some dark, dark areas like you see happening in here. Some random dark areas. I see this stuff happening here. I don't have the details on that I want Imagine some, um, some planes that are facing in that direction and just try to apply the same black script over that a little bit. The brush down, Get in there and enhance these wrinkles a little bit more it up. Have a little bit more of this detail here, another picture of them behind there. Look at it for reference of inspiration. Let's check out some of these other spatter brush is. See what they got to offer looks, put a little bit of extra random detail in there. I'm just kind of tapping it down and get some just just real random spots of detail, really Just experimenting. Nothing planned seem like Get away with here. 3. Wolf 3: all right. Before we forget about it, I'm gonna turn this hand, play around, Lockett, unlike again, I'm gonna go to the smudge tool that number 14 and smudges around a bit. Maybe go back to the hard edge brush is that Here we go. Just kind of fixed. Few the edges. Gonna lock it, then continue to smudge it. But the edge is locked. It will just push this, uh, detail right to the edge without going past because of it. Fix that up. Quick, back to the brush tool. Select that number 45 drawing in some detail trying to follow that theme of the light and shadow that I have laid down. And just very quickly put that together. The handler and a lady on this is too different. Follow exact. So I'm gonna just have it there for for anatomy sake and just kind of go in here and rough this in, uh, a little saving in here. I'm sure that that would be blocked by the light source shaping up around it like that. Save it in hair between these two fingers. Give it a once over back a bit 4. Wolf 4: You know what? Looking at this, I don't think I like for the hand as I'm gonna move it over about there, maybe move him over now, leave him right there and, uh, continue to block. It's, um, shading in late night. I'm just gonna kill this back right here a little bit and then select going down the all button, selecting this tone up here. I'm just gonna put a little bit of some highlights on here. Still a down a foundation detail, a little bit of somebody like down there. Maybe just a wisp of it in here. I think so. Okay. Now, I think I'm gonna go ahead and loosely lay in some color. First, I'm gonna size up this brush and go in the background. Just give it some random detail here. Maybe there's a light on over here somewhere that we can't see off camera. And, uh, so we'll have that reflect on him, but, uh, yeah, but the wolf player locked. It's gonna go in here a little bit more shading down here. So and it's still locked. Shade that down there. The selective beam of light hitting him and not this back a bit now. I'm gonna go back to color mode, Select, stay simple round brush and find a nice, cool color for the background just to start with. I don't know if I will necessarily keep it like that, but would you like to experiment with my tones? Values Mayhew's. And sometimes I completely change it right in the middle of working on it. So, like that just gonna hit the little his hand. And I'm looking over here trying to figure out what kind of colors in the image looks like . There's a little bit of some warm gray towns. Aiken incorporate. What's wrong there? So I'm gonna go ahead and try to introduce those in here. Thanks. So maybe the the light that's down here in the corner highlighting it is a little bit warmer than what's in the background. But I want to get rid of my illusion that it's a black wolf. That might be kind of tough. Take a look at the color that teeth those teeth. Go ahead and apply that in there, see what that looks like. And then, uh, for this, I'm just gonna grab up a bit of a purple a little bit of the just mix of mixed around a few colors. Hair is gonna grab and slash and see if econ imitate that a bit. I think that down brush and it's hit the gums up here using the color I just got from the tongue. Okay. And, uh, I'm gonna switch over to the burn tool. It shadows just experiment with this ended. Don't mess up my arts and my copy this layer. Yes, I go too far and really screwed up. I'm just gonna look for some areas. I could just knock way back, but really want this guy to be a dark, dark wolf. This is Ah, a little difficult for me to do that. I've never painted a black wolf before. We'll see if I pull it off on that. Come out of this over the hand, lier. Knock back some of that. Okay, um, appear Kill that pack may be overkill. I don't know. Find out in a second. Um, meantime, go back to that background there, switch my brush back to normal. Hold on, Alton. Sample this. Click on the swatch. Bring it up and try to find out later. Hugh, put in there maybe there's a little bit of a mist right here. Background, Just a little bit obscure details and it up here in the corner again. We're thinking about that off camera light sores, and I'm starting to talk. Weird, because that's intriguing. Here. Um okay, what? That I think. Sample this on the hand and go back a little flare. It's a little bit that there may be having often. See? Yes on and knock this back a bit. All right, well, I'm gonna take this color here. No, not I'm gonna take this color here and go back to number 14 Brush. Well, flair is locked, so I'm gonna just kind of see if I can, I don't know, but some highlights on here that works doesn't work. It's anything in my reference photos that help. Not the same kind of lighting, so not really. Um, cautiously. Come in here and put some of that in there. Maybe a little bit up here too, baby. What? That does. And over here as well. Here. Okay. Tom, here by the hand. Be a little bit down here. I would tend to think that, um no burn till here. I tend to think that the head would block any of that light source. And there may just be a little bit of ambient light. So it's like that. The key in there. All right. Thank I had some more detail working in the wrong layer for a minute there. But man layer was locked, so it prevented me from messing up, painting on the teeth, having a messing up my layer system. 5. Wolf 5 edit: I have a zoom in on the face here and get a close up on the detail. Check out this I and, uh First off, Mina, make sure I'm in my brush tool. I picked this brush down here again. This 45. I just kinda drawings of detail. Kind of figure out what I want to do with this. Start drawing. I detail, shrink it down when they're Andros. Um, finer detail. Maybe be faster if I switched over to this 14 probably. Okay, let's work it out. I just want to add some of good detail here. I see. You know, there's all kinds of little bit of fine detail of this kind of there. And, uh, of course, I added all those wrinkles, like in there. And keep mindful of that for reference on that it would be good to pay attention to, You know, some of this kind of detail here, tones, textures right here. Some of the they will not enlarge this and keep that there for right now. Use that picture. See what that does for me. Keep going here with this 14 brush trying to add some your detail slicked that told me there to some highlighting could even go over to the, uh, Dodge tools like shadows. Same brush number 14. Oops. Looks like we got a thing going on with her brush settings. No history. Uh, brush settings aren't working. Usually I have to help. Melt. Transfer is turned off so much. Turn it on. Click on it. Make sure that that's where I want it to be. That's the settings right there. And, uh, right now, yeah, that's working close. That outweigh. Maybe he turned exposure down a little bit. It's kind of heavy handed. Oh, yeah. And I could work faster to be so slow and careful. You know, this is the kind of difficult from your and I've never really tried this kind of specifics like a dark black wolf type creature. So if I can pull this off, I think, uh, I think I do need to come back on the tones here and make sure that it is a warmer, radiant Hugh minute here. But first, I'm gonna glad lay down all this dodge and burn stuff. If it could bring out a lot more contrast. The detail still just doing the same, laying down some uh, random hair's getting quiet on you here because, uh, I was really focusing on the image bit a little bit more finer detail in there. Random hairs here and there like that. I don't know if it looks necessarily black, but it's looking like something. Get back to my references here. See what I could see. Starting to look a little bit like one of the previous wolf paintings. I did close up wearable painting. Oh, I had a hard to break out of your own habits. They're all your pieces of art start to look the same. I'll do my best to try to make this very by the time I'm done. But see what I come up with. I guess the good thing about that other version of the wolf that I did have talked about, I did not have a narration on that. So it starts getting close to that. Uh, and at least dispersion won't have that called for it. I'm not sure about that, I but I want to move that people over a little bit. Just circle that que filter blur. Gagosian, man. Ok, there we go. Acute exit A Command C Command V copy paste. Imagine over a little bit. Ah, maybe. Yeah, it's probably better, I guess. Emergent down, Command E and, uh, come up here with the smudge tool. Just kinda. I worked at a little bit, but differently. All right, let's see. I think, uh, time do really blast in some variations in here. I don't like how monotone is right. Final dramatic. Well, the background copy that. Layers back it up. The Dodge Tool set the highlights. Let's back up. Just kind of give it some indications of some brighter glows back there and same day. Go to the wolf. Pick that, uh, 14 spattered brush tool. I'm just gonna go crazy with the highlights. I'm getting very bored with the monochromatic status of this horrific. It needs toe liven up to the handler and the teeth light knows up to it does say, pop a little bit more problem here. Try to get some, uh, I like some bands of highlights on the for here, nos I switch over the color mode and look for a, uh the tone in here that I could use a hue. I just can't knock back some of this blue purple saying happening here. Same thing on the handler. Flip this thing. Image rotation Flip pours out to see what looks like backwards. Yeah, Too bad. Yes, it worked like that for work with like that for a bit. And, uh, make this tooth here, pop a little bit more. Have the brush tool back to normal mode. The hard edge brush on a sample, That tooth there just kind of get some, uh, these teeth worked at a little bit more. All right. Yeah. That color for that tone right there. Put a little bit of a dividing line in there, shade behind teeth around the teeth. Smudge tool. Works for that as well. Kind of shape things around a little bit. Unlock layer for moments. I can oh, there and work this other tooth. And then this stuff's kind of messy appear. Try to fix it up. Here we go. Better two works really good for that. I can flip this, uh, this back now, head rotation flip and just get up close to this tooth here. What I can do to make my tooth more realistic, Maybe a little glint of shine on it. Still using the smart still here. Toe shape things out a little bit better. Alright, How about Dodge Tool set toe highlights and looking at these little glimpse here and see if I can and those online and see if it helps a little wet spots here and there. Yeah, this purple thing going on over here, I don't really care for that. Knock that back color mode. Uh, let's see. Maybe like that, okay? 6. Wolf 6 edit: I'm gonna switch over to the Dodge Tool set to mid tones. A soft edged brush size it up, ready to, uh, get back some of my mid tones here. Right here. What was in the I and I think that, uh, I want to make it emphasis. Like maybe there's just a piece of light hitting him right here. And then, of course, a little bit on the hand. But also, I take back some of the highlights down here a little bit, maybe go in here and, uh, and some random hairs. Oops. I'm in color mode. Get back to normal. Just add some random hairs, like so grab this color here. It had a little bit of detail, like so right here. So I feel like my, um, colors working out the way I want. I'm exploring right now trying to find the a decent theme. Here. Be back color mode. Here, lock the layer. A copy is again. Turn away under it off. I just grabbed this some of these colors and last down and see what it comes up with brown to have a black wolf. Maybe, uh, if I tried a little bit of cools back in there. It'll help. I think so. Sure. I might have to look up some references of Black Panthers and black wolves and to see what that does, but I encourage you to do the same. You can look up all kinds of references and have him off to the side to help you with specific rules and lights and shadows. Not these teeth back up here. See if that helps to certain kind of mood for this. Maybe there's just a barely a piece of lighting hitting him. Maybe that'll help things. I don't know. We'll see. But I put this horizontally on one layer can back in the shadows color mode. Do. Matched the tones in his hand with what's on his face. I think so. Mm. This is tough if I come in here, nice clothes have a different spatter brush. Sherman. The right layer. Go back in the normal mode. I can, uh, the size of this dark hair. A little bit better. Try this brush that's helping a little bit. Size it up a bit. Look, some of this back out here. Suppose a black bear would be a good reference to look up a swell on, uh, back to before team. A little bit more emphasis on some of these wrinkles in here. Go starting. Come along a little bit. I think computer sounds like it's getting ready to lift off. Fans are really working overtime in here. It like I want to get a little bit of that brownish tented here. Secret fight some of that in the palette here. Just kind of working in where possible groups a little heavy there. And maybe, like some of this comes up a little bit. Grab some of this. Put this down here in this tongue. Do this brown on the edges of his moth lips. Right. Interesting task. I put this and get a little bit of this undertone here we have get some awful itu's a copy it again. To some experimenting with the Dodge tool set toe highlights seem kinda nuttiness. I can, through all of this thing here, back to color mode, brush tool. Whoops. That's luminosity. That will not work. Here we go. I think my colors I some kind of wild color, maybe. Uh, no. Well, not that we sent like this. Maybe, maybe not. Let's see here. Maybe just a brown color, Like? Too bad, I guess. Back to the hand. Match the tones. Put the Candace horizontally, See what we have so far. 7. Wolf 7: all right. I am now at a point on this picture where I am ready to close all of the reference photos ahead up. I'm gonna go ahead and be real daring and try to change this into something that really appeals to me right now. It's very boring. I don't care for it. So I'm not. I'm gonna do all kinds of stuff to try to bring some life into it in a in a manner that's appealing to me. So, first of all, I'm gonna want to fix this, uh, the's teeth up here, the gums. I want us to look more snarly. More means I'm gonna go into the in the layers palette, a mock, a layer. It felt her liquefy. And, uh, besides that brush down a little bit, I'm gonna go ahead and just kind of pull these down a little bit, give it more of a nasty snarl, maybe pull this upper lip back a little, push his teeth down. I'm just gonna start really wandering into the fictitious round mayor and just forget all an atomic rules and just get crazy with this creature. Mostly. Gotta put this, uh, this side of the mouth in a little bit more. Kind of like what a wolf looks like. What it howling not necessarily howling in this pics here, but I'm just trying to give it a little bit more character, make it pop more, and I'm gonna get myself a little bit more, uh, room up here. Look more real estate in the I forehead area. Second, maybe at some more detail also exaggerates some of the hairs and features on the chin. Try to give it a little bit more character, but say okay, to accept those changes and take a look at what I did. It looks like he's more laughing now. He's very just crazy. Insane, rabid animal ready to attack. I also think I'm gonna go ahead and change the print size of this thing first. Michael. Image size, but make it 12 inches wide. Might wanna make little poster prints of this, as I often do with a lot of my artwork. So I'm gonna make this more of a usable print size, and I tend to print out 12 by 18 prints of these things for shows and whatnot, so make a little bit more usable. Plus, it'll you know, it's a little bit more published, publisher friendly. If I have it at that kind of proportions, you know, I need to use it for titles, and then they repurpose this stuff for, um, comic book related projects. So I'm gonna say canvas size, and they make the height from, uh, from the top of picture down, elongated to about 18 inches. Then there's that. And now that I did that, I gotta stretch the background layer. It's gonna select that with the rectangle Marquis Command H to hide the selections toe. Have it I have. And then I'm gonna de select command e select the bottom portion of the wolf. Stretch that out. Okay. Command E d select. I think going here and liquefy that as well. Size of brush. Together we set out like a chest, like so all right. And then the hand, I think I move this down here. Maybe down to the bottom like that. So now we have ah, haven't kind of moved around a little bit. I'm only going here and change some of this detail around the I got the smudge tool selected and give a little bit more expression around the eyes more vicious, a little bit more crazy. Let's see here. Just gonna pushed these pixels around a little bit. And, uh, I think also this pupil, it's one of a kind of down here a little bit more. Just make him look really psychotic crazy. While I'm at it this much time I go talk some of these teeth back behind this part of the mouth that moved forward. You liquefy kind of hide it a little bit. Okay? And I think I need Teoh. I need to go in there with the Dodge Tool set to mid tones like some of the stuff a bit Seiken. Rework the detail with these new proportions I've added in the year might be losing the character of it being a black wolf, but we'll see where we end up going with that. I might just change my mind altogether and then just make him be a regular GreyWolf back to the mid tones, lightness up in hair, all kinds of terrible things with color going to the hand layer. Lighten this up a bit. Switch back over to my brush tool. Thanks. Rounded breasts, layer locked. Kill backs on these very obnoxious allowed blue bright pieces that just appeared for me doing that. Work with the Dodge Tool. See how this works back to the Dodge Tool. Mid tones. Now it's starting to look like it's, uh, maybe get some power headlights or something shining on it, which is acceptable. Okay, like I like what's going now. It's going a little bit better back to brush. Tool color mode. Locklair. Not down these blues on there. All right? 8. Wolf 8 edit: So now that we have these new lightened areas about zoom in on his face trying to work in some more tighter detail, uh, I'll stick with May number 14 spatter brush for now, I turned my color mode back to normal mode, and I'm just gonna and work a little bit in black and white for now, I really want to lay down some, uh, intense wrinkles and features on here that will really help, you know, pushed the intensity of the the insanity of this creature insane viciousness. I got my left hand hovering over the keyboard is it always is. Just hit the X key. That gotta wait and you get my black white swatches set on default. I'm just gonna kind of go back and forth between the two right now and redo this, uh, detail. That's is a good exercise because, as you can see, I start out with an idea in my head and then, uh, just kind of developing it as I go. And I completely changed course. Um, you know, it's that's why I called it a doodle. I'm just kind of making it up as I go, and it's ah, really good exercise. It's relaxing and it's just, you know, something I started to do about, uh, back in 2006. I first started uploading on YouTube. You know, I found these videos on their people titling them speed painting, and they were showing themselves drawing time lapse in that, you know, that's pretty cool. I think I'll try that out. Caught on my channel, caught on for a few years there. It became a fun little escape, and I was doing a lot of really aggressive and a Matics deadlines, storyboards, deadlines for at agencies and at the time, turnaround for deliverables on that is just so over the top that anything you do on the side could instantly be cut short by the demand of the deadline work. So I made myself just really quickly pound out these paintings within a couple hours, the dragons and wear wolves and they weren't serious paintings by any measure. But the they got a lot of attention back then, and sometimes it made me feel little insecure, cause I'm pounding out work that is not my best work. And, uh, I did find some critics in the genre industry. You talk about how sloppy and fast Burnett Fast. But how sloppy and, you know, unprofessional. My work was other peers, other competitive competitive people. They were put me down and saying, You know, these works not up to par with what this industry. It was frustrating because it was just a side thing. I just tried to do my best to look away from that. It's all you can do, do your best to perform your best cause I was already working hard and successful in the industry. I was working, and so it really didn't matter. But get that little eagle that comes up and it feels a little insecure, like Wait a minute, I could do better. Really? You want to convince these people start to realize that No, no, no, Just relax. Just let it go. Not a big deal when you're no longer enjoying it, you're becoming distracted by the contentiousness of the world, pulling away from the full reason you're doing this to begin with, which is the passion and enjoyment So but anyway, nice. So story for you there. I tend to fall victim to my own ego a lot. And you know, my pride with my work. So just continuing here with the, uh, black, um, Swatch. And I'm just trying to throw in some nice hard core shadows. If we were to say that this lightest somewhat lower coming down from, you know, closer to the ground, we would try Teoh. Imagine areas where it would be heavy shadow, like, uh, probably, you know, above some of these snarl wrinkles, give it a little bit more, uh, ferocity like this. This particular area right here. Really? When I found that in there, I switch over the white again. I just can't throw in some, uh, under highlights here under these ridges and try to keep this balanced. And in the I want to do something up here. There's a man a couple times. You can take this up a bit. I really want to make this detail on here just really extravagant, but can it's really fun. Very relaxing. Discreet. These things back to black. Put it some variations of the skin texture in here. And I think, uh, well, I had some more color in here looking at this now, thinking it might help me if I put a little bit off fleshy skin undertones like, uh, maybe a little bit of brown or something. Let me see my swatches over here. Try this brown hair color mode. Just enlarged the number 14 brush going there. Just kind of. But some other soup that looks like some of these areas where there's now as much hair. Maybe there's a some of the skin showing through there. Let's see. Maybe I'll grab a little bit of some off color to mix in there like this. Light yellow is green, so it doesn't look too monochromatic. Some various hues that might be in the skin hope down the out button, grab some of the color that already made come down here and do the same thing to the hand. Oops. Gotta get on that layer. A little extra variety from Nancy. I was looking. I'm gonna go back over to my, uh, normal mode brush. I'm not trying to give it a little bit more texture in the hair. Now, try to make some more, uh, darker patterns right here. Lay down the dark first and then go in there with some whitening and him trying to throw up some highlights on top of that. Also, at this point, I feel like I need a flip this image to see it backwards. Give it a fresh view. They're too long. I start to lose, uh, lose sight of it a little bit there. Okay. In here, This color yellow button, some dark here. I'm gonna go back back to the hand and tried to put a little bit of variation of detail in there as well. I just hit command us and try to remember to save his Optimus possible. Lose all this work that I'm doing. It is good to keep here. Left hand hovering over the keyboard if you're right handed. It was quick keys to command as or have your fingers on the Lanzi keys and the space bar. It's just a habit. I learned from back in the days when I worked retouching studio, working to deadlines. It was good to just have the key process Dallas weaken both through these things. Get it done fast. Okay. Some random dark areas in here. I think I needed wrongly here again variations in here. So it doesn't become too, you know, of tedious without this really find that illusion of hair lay down a lot of the dark first . Kind of just randomly scribbling here and there it is. Too late on that foundation. Okay, well, one time finer hairs in here. Make sure you have absolute black. First learns that brush a bit, Some larger swaths of darkness in here. Also down here, we put a little bit more allege of shading up here. Hey, um, Now I'm gonna switch over to the light, And I think, uh, instead of just using way to think, I'll grab this warm gray right up here, See what I could do with that? Just had some really random hairs. Groups of hairs that works. I don't want to be too monochromatic with this. I'm gonna be using the old key and just sampling colors from within the image, like right here that come down here. So later, hairs. And then, uh, a little that green issue right there trying to make some little groups of strands, maybe throw some up here, maybe unlocked this layer for a few, that some of these hairs can travel outside of the shape a little bit. Have this color here. Lots of variety, a lot of variation I grab a really light color it. They're just get a mid highlight area right about here. Does a couple of wild hares What is it all? Just same old, same old here. Try to make a highlight area. A little wild hares up here. Just tighter detail. They want a swat, a switch in mid rotation flip where is actually 9. Wolf 9: all right, I have created some custom brushes here a real quick just cause I feel like I need them for some of this detail in here. So I get this one right here. Just call these hairs. One, There's two years 30 Try to make those available for you when I'm done with this video. Um, just look for that information's along with Thea on with this tutorial and what you can see real quick How the, uh, how these brushes would work to kind of fill in some of these details not just for hares, but for Regal's. And I really want to put some more that kind of stuff in here just to give a little bit of , ah, the texture quickly lay down some texture by painting. These in here is not unlike a traditional art brush where you would spread the little chunks of hairs out of the brush and try to get the same kind of pattern and painting. At least when I do it. That's what I do it squash my brush down with the pain in it and spread out the fibres. And I tried to get little textures like this This is like the digital equivalent of that me and large little and give a little sloppy right there. So let's see here and then I'm I picked this one over here. You can see it's just a much spread out little scribbles tryingto whips any to go in here and turn the spacing. Now, you see, it's got a weird spacing, so I just need to turn that down the one here we go and just kind of go in there and randomly placed some of these hairs different sizes. Just give it some really nice fine texture. I'm just, uh, size in the brush up and down as I go with the laughter. Right. Bracket keys. Come up here into the eye area. Just make some random wrinkles, skin textures. Trick it down a little bit at this phase. In the picture, I get I start jumping around moving really quick because I just get really anxious to see this thing come to some kind of fruition. Completion. Grab this brush. Now Shrink it down. Detail in there from that, like so some appear our aged a bit. I definitely want to put some detail in here. Is pretty good area to ed this kind of detail. A little bit of the eyes. You can see. I can use this kind of texture for a lot of different areas. It doesn't just restricted to hairs, but I make it primarily for the hairs, the furs, the fibers if you wanna call it. It's a random detail up here, so keep that upper scenario nice and detailed. Your numbers here, up here, here. A little bit trailing off his chin here as well. All right, Now I'm gonna kill that hair back there a little bit. Go on. And this brush some of the same. Vary it up a little. Okay? Push a little up here. I spend this thing around a little bit. Same brush lips. Just kind of give it a come from a different direction for these or horizontal edges up here. I'm gonna, um I'm going to switch over to the Dodge Tool Zoom. I just take a look at this and see what I could do that highlight certain areas. Sharing a pretty good reading of the high areas. I think it's kind of to them right now. Maybe goto highlights. You start messing with these brushes again. And okay, this one going here, basically, just try to bring out some of the high points and some of these wrinkles. What that does little bit of a shine, A little bit of a glisten here and there I was up here. A little bit of the tongue there. A little bit more wet over here. All right. Highlights of the hairs. It's time to reverse the image again. I'm gonna go. I put a little bit of highlighting right here. Shake this thing down. Some of their appear Makesem Absolutely powerful sparkling glares, period areas, hairs and skin. I love putting with this much detail into images. It's just fun. All right? Yeah. Figure out when the same way in here highlights up here, puts that in a little bit. Let's go over to the hand and out trying to put some variations on there as well scribbled in there. It's not too smooth, random detail in their scratch it up a bit really rough. I'm gonna copy this layer because I'm gonna do some experimenting out. Go underneath it with the, uh, mid tones here, and I want to meet this hand a little bit. See if I can. Handsome wisps Highlights. Doesn't work. Maybe right here and then here and tried to some specific areas like settle. Let's see, I need to go into here and do something extra work with the brush tool set to normal with that same hair brush. Select it. Just kind of come in here and working a little bit more defined areas of detail with the for of hair. Also, um, build it a little bit more brown in here, your skin tones trying to go to quiet on your hair. Mamat the concentration level right now where I'm experimenting. So do me a favor and don't fall asleep to keep you keep talking here as much as I can. All right. Some detail down here feel like they need to be some, uh, random highlight areas of hairs. No street this down. A so small. Use it like that. Nixon. Really, really random spots in here. Uh, what? I could do the amp up the wrinkles here in the side, take this brush and spend it back to Spain again. Get in there. I guess I should zoom in. Just trade a build up a little bit more shadow areas of the little valleys between the wrinkles, Already more appear or defined very, very fine detail in the skin textures Here, come up here and try to add a little extra shadow ledges, especially up here. Little cracks in the skin up here detail appears well. 10. Wolf 10: It's a few more areas of hair over here to scribble in there. And I go back now to my, uh, number 14 photo shop spatter brush. Been here. Workouts of valleys. Some areas try to make them a little bit more pronounced. Looking at this area here. And I think would be cool to add a big old valley right in here. I think so. Okay, kind of probably, uh, maybe it's even a scar. I don't know. I'm just gonna try to add some more random detail. It's hard to amp up the realism in this thing. Like so. Okay, a little bit right in years to find some of the stuff. A bit more cracks in the skin here. I'm just gonna kind of dot a little bit of this in there. Maybe this There's rough scans and pours with tap down that you're 14. It's better brushing their a little bit back up a little bit of the monotony of the straighter squiggly lines. Just put some of your texture and there's roughage on the skin. Total. Flip it back. I think the other side I see it a little bit differently. Okay. And now grab we could do some splotches and hear some variation in step with the darker areas. So the later areas blemishes on the skin and I go here, check out, uh, Browner Brown tent Late tan color. Maybe this one guy here, let's try this weather for highlights. Go in the middle of between some of these valleys with these cracks. Just Michelle Thea. Higher areas. A little bit better, maybe go to color mode. Real quick. Deuce of, uh, coloring. I don't know just some random, different feller detail on the skin. Take the Dodge tool set to mid tones. Lighten up some of this a little bit down here and here. Get a little bit of the inside of them out there. I'm going to fix this little crack right there. Way that's that. This two shadows clips from one known as the Burn tool, the shadows darkening back. Some of this stuff give it a little bit more contrast. Same thing in the hand. Just say that out and again. Flip it horizontally, trying to stand top of the anybody, not me in detail from Grab. Go back to black and white, get out of color, but get in the normal mode groups of in the right in there and well, look here on the teeth and just trader. I like that a little bit more. Some, uh, some shining here. What kind of wet? It's a shame on some of the parts of the skin There, Here, here, Little bit up here as well. Sometimes the here in this twos, a bit of time. There, right here in this tooth. So nasty, nasty monster. Various highlights appears well and I think moved to the hand. A little bit of same hips keep forgive in different layers and they locked. Okay. Getting close here, close to being done. My favorite part being done finally seeing it coming to fruition make a new layer here. Maybe there's a a slight bit of Welsh in and some drool some spittle You just, you know, opening his miles. Anderson spittle falling about random highlights here and there. Grab a few examples of building from over there and mix those ends. So on top of the handling, it's it's a few last minute details and, uh, copy this backup layer. That's very slight. Indications of background detail. Nothing too over the top There's a a tree back there from branches. It was fan out spatter brush a little bit. That's really random detail there. Make that hand just a little Now, know enough to do that escape. I forgot I did some detail on the, uh, outside of that it is. You know, I could just cut this circle that with the lasso tool que filter blur Gaza. The reason I'm doing the Blairs in case there's any detail in there, but it cuts. It won't be too hard of a cut. Cut paste on, let down there in the hand. Right now I can size up the hand, but it looks weird with the background here Enough. Yeah, well, if that was necessary not, but I might need it. It's all right now. The only question I have is which one looks better this pose or horizontally flipped? I don't know. I would really like that just to make a difference in the other one. And that's it. Thanks for ah, watching my tutorial, Um, on the wolf. And ah, please come back for a few to tutorials and, uh, hope you enjoy this signing off Chris Scelfo.