How to color your digital paintings like a pro in Adobe Photoshop | Chelsea Van Egmond | Skillshare

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How to color your digital paintings like a pro in Adobe Photoshop

teacher avatar Chelsea Van Egmond, Artist, Creator, Digital painter

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

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

12 Lessons (1h 51m)
    • 1. Intro - Welcome to the course!

      1:28
    • 2. 1 The importance of good coloring

      6:35
    • 3. 2 How colors behave on different objects

      3:19
    • 4. 3 How to choose and Set up a good color palette

      13:32
    • 5. 4 Start by adding the base colors

      13:31
    • 6. 5 Everything is made out of basic shapes

      5:01
    • 7. 6 How to build up colors (Highlights, shadows, etc)

      21:53
    • 8. 7 Blending without looking like an amateur

      18:10
    • 9. 8 How to add rough Edges to your digital art

      14:26
    • 10. 9 Cleaning up your Line Art

      11:00
    • 11. 10 Adding the final details (textures etc

      33:08
    • 12. Some final words + What next?

      2:17
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About This Class

Hi there! Welcome to this Skillshare class. I am happy you are joining in :)

My name is Chelsea van Egmond, and I am your teacher for this Skillshare class. During this course, I am going to teach you how you can color your digital paintings like a pro in Adobe Photoshop. 

When you are getting the hang of it, you can implement all of the techniques and strategies I am going to teach you in your upcoming digital paintings. This will make sure you will make faster and bigger progress, and your art will become more profitable (This is an amazing benefit if your dream is to make money with your digital art).

Believe me: This class is less intimidating then it looks! The textures and lights and shading are no rocket science.

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What you'll make

The octopus monster I created is called Ralph. Ralph is my original character, and we are going to use him for this Skillshare class. I included the outline of this digital drawing in the project tab, so you can paint along with me, and copy my techniques. 

What you'll learn:

The importance of color - Why colors really matter in your digital painting, and how to create your own color palette in a way you probably haven't heard of

Identifying objects - You will learn how colors behave on different objects, and how you can identify those objects yourself. By knowing this, you can make a really big jumpstart in your digital paintings.

Adding the colors to your art - You will learn how to color your digital art. From adding the base colors to adding the color build up (highlights and shadows), you will learn it all in this part!

Adding the final details + polishing - This is my favorite part of all my digital paintings. Here, you are really going to see your character to life. You will learn how to clean up your line art, how to add texture, how to add rough edges, etc.

Class outline:

  1. The importance of good coloring
  2. How colors behave on different objects
  3. How to choose + Set up a good color palette
  4. Start by adding the base colors
  5. Everything is made out of basic shapes
  6. How to build up colors (Highlights, shadows, etc.)
  7. How to blend your colors without looking like an amateur
  8. How to add rough edges to your coloring
  9. Cleaning up your line art
  10. Adding backlight, textures, and dodge and burn effects

Download your goodie bag!

You can find all the materials you need for this class (the template and the brush pack) in the ''Class Project'' tab.

Join the community!

Do you want feedback on your work, share your progress, and connect with other talented digital artists? I have a free Facebook group for that, and I would love to see you inside! You can join the Facebook group here.

Download the texture brush

I created 2 texture brushes for Adobe Photoshop which are not included into the standard brush pack I created. You can download the texture brushes for free here.

Confident enough to sell your digital art?

You don't have to do it alone! I have another Skillshare class available. In this Skillshare class, I will teach you how you can sell your artwork on physical products without having to produce, package and ship them yourself. If you want to make money with your art, this is one of the most effective methods. You can enroll in the Skillshare class here! 

Meet Your Teacher

Teacher Profile Image

Chelsea Van Egmond

Artist, Creator, Digital painter

Teacher

I help millennials how they can make money with their creativity so that they can live the life their heart desires. Over the years, I have been pouring my heart and soul into art. I eat, sleep and breathe art (And coffee).

 

I believe that if you have a dream, your goal is to pursue it. Let's start dream chaser! We have work to do!

See full profile

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Transcripts

1. Intro - Welcome to the course!: Hi there It is So nice to meet you. My name is Chelsea and I am a digital artist was living in the Netherlands. I have my own small company called Joining Creative Side, where I'll teach you how you can create a profitable digital arts. Over the course of five years, I have completed many additional paintings from original characters to fine arts. I've created it'll. I believe it is really important to chase your dreams. That is why I am going to help you to dress Klay, improve your get start. This class is called How to Going digital art like pro in a toy phone shop. I'll teach you how I can create more dimension your art by using its fan scholar techniques , which are easy to implements. Believe me, when she gets hanging off it, it is no record science will cover. Everything from Michael are so important. How to create your own God Bennett. In a way, you probably have a turtle. I want to build up your colors by adding highlights and shadows all the way to polishing your digital throwing, cleaning up your line arts and adding the final details and textures. This class is perfect for beginners or intermediates who are looking to dress. Curly improved your digital painting skills, but anyone who wants to learn how to pay digital is welcome to join, and we'll learn a lot from this digital class common sides. Don't be shy. I can't wait to see your projects, see, really class. 2. 1 The importance of good coloring: Marshall on the importance of course coloring. So why is so important to use the right colors? Using the rights colors can add a certain dimension to your arts. By this, I mean, you can create motion and at more depth in your digital bay. Ning's also colors will show you what really matters in the painting. A painting always has a part where the attention should go. If not, your eye scans rest, and it can be quite everything, so it's colors. You can also draw attention to subject. For example, if you have a low saturated baiting and at some bright scholars in it, your eyes immediately get drawn to that part of the painting. So, for example, if you have a painting off a jungle that's mostly green, and you add a bright, colorful barrett to it, irritation is going to the parents, and using the right colors will also set the mood. For example, if you're grading in the heavy picture, you're more likely to use bright colors. And if you're creating a sad picture, you're more likely to use blow saturated colors. So this additional painting I created and here I want to discuss the dimension of colors. So in this ditch to paining the lightest coming from below and from the Franz, this adds information and depths of field in the background. So you will see that the most important subject in the station obey Ning is the girl with the heart that lights in the dark. The least important part of this digital banning are the votes in the background that it's also by their darker and the girl in the front is life, so here amusing colors to draw your attention to a certain subjects. So this also digital painting. I made reason Lee. Here you see that the butterfly is brighter because of days you're more likely to notice the butterfly first. I also added some sparks and lining around spotter fly to give the clothing dark fact. And because there's light shining from the bottom flight through the broken glass on the girl, it is more likely to notice that the light is coming from the butterfly itself. So here's a good example for digital painting I made were caller spell story. I made a fairy house with a garden that is floating in galaxy and because the colors I'm using this creates a magical setting. So a lot of people were seeing this because all those colors, you can immediately notice that this house off a ferry or not off monster. So it is actually really sweet story about fairy who's using our sailboats to go toe other destinations. And when I'm telling you this story, it matches the picture. If I'm going to tell you store about like an evil monster that it's kidnapping people over here, you're probably less likely to believe it because I'm using bright colors. And because I used this color palette, it creates magical setting. So this digital painting us an example off colors that sad remote. I did this throwing for Halloween, and the colors match the fall season since Halloween is happening in the falsies, Um, this is because I'm using a low saturated kind of brown color palettes. So if you had to guess the season from this picture, you can immediately guess it's fall and not summer, because summer's way brighter. So here is not our example setting the mood with colors. I didn't create these pictures. These are actually from a Murphy. It's the movie called Inside Out It's a Disney movie, you're probably noticing that I'm loving Disney Small background story. It's about a girl, Riley and, uh, you can look inside her head during this movie and see how all her emotions are acting. So it's actually really cute because every emotion has its own color and character. So on the 1st 1 you see your family really happy when Riley's young are, she's eating ice cream mom and that are really happy winner child. And because this picture showing happiness, it's using bright colors so you can see a pink top from the mama. Riley or bends are also brides. Everything's is bright. Actually, the skins are glowing. Ah, the weather is beautiful, the sun is shining, decreeing roof off the playhouse, etcetera. So on the other side, you see that Riley has been grown up and small background story. I don't want to spoil to march from this movie, but they're moving to another city, and Riley's kind of said about his. This is actually seen right before. There are queuing and writing got sent to a room, so it's really sad seeing because she doesn't want to move and her parents decided to move , and you can see that's because of the colors, like there are no bright colors in this picture on the right, so there are low saturated, grayish Turcios set colors, so this is a great example of how collars can set the mood. So don't use bright colors when you want to create a sad foods and vice versa. So this also common mistake people made already said it actually, on the previous slides. A lot of people are using way too saturated colors, So this is drawing. I created a so you can see the drawing. It's nice and balanced, the lightest coming from the Harper hair shining. And of course, it's not too bright because the scene is playing at midnight, and here it's a mistake. I see a lot of people make using way too bright colors, so hers yellow over here. This leave. It's like so cream and this want to, and they're so much red in it. And so march brightness. It completely rooms the move because I actually wants to create some kind of mystery, and it works out way better over here. Then I did over here, so don't go too harsh on your collars. Using brighter colors doesn't mean that your pictures going to turn out better. You have to really think about rich moocher going to set, and then you have to make sure college waited. 3. 2 How colors behave on different objects: Marshall to how collars behave difference on different objects. Colors behave different on other objects. By death, I mean that lighting on the spear behaves different and lighting on a cube. We will discuss that in this macho and why it will benefit your digital arts. So here we have a spare, a cube and impairments. By the way, I can't pronounce the word spare. But you probably know what I mean. By the way, we're going to keep in mind that the light is shining from the left up over here. So everywhere delight is shining here, here and here. Now we're going to discuss how this is going to behave difference on every object. So with object number one we have to spare, you'll see that the colors are transitioning really smoothly. So here we have the lights and you can see that it's going to form into shadow over here. Since the spare doesn't have any access, you won't see any hard shadows or lights. So remember, with a spare, the colors are really smart. You'll see nice, smooth grey aliens running over here. Also, if you would like to make your spare standoff more, make sure to add some backlighting over here. This will make sure that your spare really gets more automation, and it doesn't look flats on the second shape. We have two cute, so cute. It's made out of corners and services because it has some heart shadows and anxious, and that's why it's really different from the spirit. So again, the light is coming from it's up and, in my opinion, creating colors with the Cube. It's way easier because she don't have to create a smooth color transition. The only thing you have to do is Sukar in those services with three shades. So when the lights come from the left up, you have to make this part ally Tous. The parts here has to be the mental because the lights come from the left up and apart on the rights has to be the dark stone. And if the lights was come from the other side, he would have to make a dish from its own. And this your shadow. So as you can see, this is no rocket science. But in case you need more time, make sure to Boston video or watch it again or take some notes So it is Stoli. Okay, if you don't get it on the first hands. But if you do get it on first hands, Congratulations. Knowing this is going to make your life so much easier with digital paining coloring a pyramid is almost the same as coloring and cute. So if the light is coming from here here, you'll have to lie to Spartz. And on the other side you will have the darks part of your pyramids. So if you look really closely, you can see that I create the small color transition because if the light is coming from here here, you will have to light this part of your surface and there you will have to darks part of your surface. I do notice to add more dimension to my pyramid because if I'm just going to use two colors , it is going to look flats. 4. 3 How to choose and Set up a good color palette: So this is one of the most important things to do when you're going to color. Build a good color palette, as we already discussed. A color palette can attract a certain kind of movement or emotion, so using the right color pilot is crucial for your drawings. In today's macho, I am going to show you how to build a good color ballot. So the first thing I want to do is to get rid of this white background, because when you're using a white background, your collars are not shown in their purest form. With that, I mean that if I'm going to use something like gray over here, you barely can see it. So what we're going to do is we're going to make it a little darker. Make this finger real baker. So can you can do it in this way, like coloring it or corrupt a paint box to and then just changed the background color. So issue considers like a delay in my painting. I'll fix that as soon as I can after this, and then I'll get back to you. Okay, so I fix the lay in my brushes, by the way, by the way. If you're experiencing this lacto I've solution for you. So the main reason why I'm experience this lay is I'm working on the seven year old leapt up So at the moment, I can't afford like, something really new. But hey, sometimes you just have to do it with stuff you have. And this also proves that you don't need all those kind of expensive gears to create beautiful paintings. So I'm going to show you how you can fix the lack off your work. So what I first recommended to do, it's just your spacing. I always increase mine up to five. If I experienced leg and then turn off smoothing And those small things are the things I am doing to remove it. Ongoing lack. So I just fixed the brush like so Now he can continue to the color palette. So what I did was just adjusting the spacing off the brush and removing smoothing function , and then all the lack will disappear. Okay, so now we're going to build the collar ballots. So for just I'm going to select a color. OK, so actually, I'm really happy with the color I've already picked. So for it is example. I am going to show you how to work your way through this color products. So this, but I'm going to create is a common color palette people are creating. So this is what I don't recommend you to do and said, A this way is called Color Baking. So what you're basically doing is you're just speaking the collars from light of darker to create a color planets with shading. So why I don't recommend a scholar ballot? It's because it looks boring. That's just stars truth. That's the only thing I could say about it. Or actually, I can say more about this collar pilot. But summarize in one word is thistle looks boring. It doesn't have any dimension in its collar. Uh, of course, you can make a beautiful creations out of fit, but it hasn't a movement. It doesn't tell on emotion. It is just flat boring because we're literally going from light to dark, and it's just grey and muddy, and it's not feeling warm, even though this is a form collar. So Fortis fun. It's a big note. Don't do it this way, so here's not a way you can do it, and I actually recommend this way who weigh more than 1st 1 But it's still not my favorite way. So we're going to start with the base color again, and we're going to create highlights and shadows. So did is how I'm going to do it now. And soda, if you can see discolor. Pellet has way more dimension if it's warmer and it's colder, so it goes from warm to cold, so it doesn't have one consistent temperature. And that's what I like about this color palette. Because withdrawing off course, you have depth and, in some perspectives, the front side off your digital paintings warm. Any backside is called. So next to it, I'm going to create a variation off the color palettes. Here. I'm going to create all kinds of forms, but you can also make a whole Warren pallets out of this, and that's what I'm going to do now. You're just the 1st 3 Once you're going to continue and therefore the lighter ones, you're not going in the cold direction but also in the warm direction. And of course, this middle one also is kind of cool. So we're going to make a former and said, uh, and what you can do now is when you're just going to move this variation. So So just to repeat this one I'm holding now is a variation off warm and colts. You're still following me. This one is warm. And next to it, we're going to create a gold color ballots. So why we're going to do that? That's because I won't show you something after death, So I'm going to assume in a little more. So all we just have to do is to go to this site. So, actually, I'm just literally tracing this color scheme, and I'll explain later to you why I am doing that mitt zone. Okay, so I'm going to tell you something that's probably going to blow your mind. So this color palettes is made out off all kind of rep tones. As you can see over here, this is already but here is the difference. This side's off the color palette or this direction symbolized. The saturation decide symbolized the failures off a collar. So let me explain it to you. The more you go to the right, the more saturated your colors will be the more You're going to left more low saturated. Your colors will be so here is rest in the purest form. I'm so sorry for hurting your eyes. Now this is just way too bright and my being. And if I'm going to slight a left, keep your eye on this one. You will see it will decrease saturation and eventually will turn toe white. As we already discussed this side off, the color palette symbolizes value with death. I mean the darkness and lightness off one calmer. So over here we're going just going to 50 middle points. We have fly threats. It also kind of looks like think and we were going all the way down. You can see it turns way dark or even a burger bullish kind of color. And then we're going lower. It's now purple, brown and all the way to black. And when you're going to the left, it goes from white, two crates of dark on the right. It's ghosts from bright reds to dark reds and almost brown to black. So this is how you can build a color prints from that. So over here you can see that we literally just Tracy collar Baker. And right now I'm going to show you what I mean by that. So I finished, He collar ballots. So, as you can see here from here, saturation and hear from here are two fails. So this is one way you can create a color palette for your work. So here, situation here fails. Okay, so now we have to pouring collar pilots differentiation, caller ballots. And here's my hack to create a color ballot from mixed fails and situations of it. So now I'm going to create another way. So I'm going to crap another type. Fret over here and now I'm going to show you my favorite way off, creating a color balance and also the way I recommend you to do so. So what I'm doing right now is I'm also using the color sliders to create more off a warm feeling and more depths. And we're emotion, etcetera. So that is actually my secrets also using this slider to create highlights. So instead of using light, read a gay being tried to use yellow. So this my favorite way to build a colorful of because it looks way more beautiful. So instead of just color picking with the highlights and shadows try to also move around t color sliders to create a variation in your highlights and shadows. So now I'm going to blend off these colors just to show you how it looks when all those colors or blends and also because the node anthems blending videos are really satisfying. So you're welcome. So this is one of those planning techniques I'm using. So not going in detail about this because later on, we have a blending module where I'm going to show you how I complaint everything. Probably. But I'm just going to blend this now. And here you have your color palettes. So we're literally going from this boring middle color, too. This way of creating Retz. This part of the red is the more dominant parts and for adding highlights and shadow. You can increase your way up or down, So now I'm going to create my color palettes we're going to use for my been along with Ralph Modules. So I already created a character we're going to draw. So this is Ralph. He's kind of an octopus monster, and I'm going to create a color palette for him. So what? I want to attract this rough. It's really sweet and lives kind of in his own world and kind of a match Go monster Feeling combines. So now I'm going to create a sculler pilots, and then I'm going to get back to you. So here's my color palette for rough. So small confession. I don't plan every color palette in the fence because sometimes I change my mind or come with new ideas. Um, I just, for example, I'm not going to create a whole color belt for a toot over here. Not that smart of effort, but I don't even know which color is going to be so probably yellowish. But this just for example. So this was see Macho, about how you can create a color palette. I really hope you enjoy it, and I'll see you in the next module 5. 4 Start by adding the base colors: so in this march over going to start by adding the base scholars. So at this moment for this dish, debating it isn't hard at all because Ralph only has a couple off colors so bluish for his body. Ah, yellow for cheeks and red forest flames and also the eyes and the teeth are also carnivorous color. So with this tutorial, I'll show you how I can add colors really easy. So that's why actually, Joe's Ralph do not overwhelm you and not to make things too much difficult. So already created my two layers, my color part of layer and my line or layer so color palette is deadly over here. Online or layer is slayer rich lines. So one of the importance things about coloring is that you have to separate your liner layer and your color layer. So I'm going to create a new layer over here and direct this under D line earlier because we still have to keep an eye on the liner layer because we have to see what's going on and that we don't color outside the lines, so I'm going to drink it a buff. It's all lose track of my Leinart. So I'm going to name this the color layer. So if you like, it's work with many layers, that's all based on your personal preferences. I know many talents of artists who use for almost every single brushstroke, a new layer. I also know a lot of fairy time artists will like to work with maximum tree layer. So Leinart color detail. So I'm actually in the middle fit. So I tried to use separate layers as march as possible, but not too much. So we're this layer. This is going to be the body off Ralph. So here is my way, how I color things so normally you probably select this with magic, want tool, and then just call arriving. Maybe even with big buckets all looks nice rights, but where you're going to de select it. And when you're going to sue Mann, you're going to start to notice that there is a gap over here. So here you can see that your line arts is not filled correctly with colors because they're still gap over. And believe me, that is going to back you, because when you don't do this properly and you're going to color your line are later on, then you will see that gap seriously. You'll see it so clearly it's going to know you, and then you have to fill it in with blend brush and just a huge pain. So to say few that pain, I'm going to teach you another small technique. So how you color this properly is in the line or layer select which part you want to call her. So I'm going to select the Dover here, and then you go to your body layer or your color layer, or or however you call it, so make sure to single double triple core triple. Check that if you're in right layer, because nothing can be so much frustrating as coloring and enjoying it and seeing how good it's going to look. And they your noticing you're in the wrong layer. So that's a huge pain in the ass. So I'm on the color layer now. I've selected what I want to color in liner layer, and I'm going to select modify and expense so it's going to experience your selection so it depending on how big your artwork case, um, you have to select the big so she wants to expense your selection by, So I'm using three pixels. Great. See how it is going to turn out? I'm going to zoom in and you know your all goods when your selection is over. You're lying art. So you have to check if it's crossed your line. Martin, In this case, it did. You could see by two pixels. So this is good. So you won't have those empty cups, Okay? And now you're just going to call it And so I don't recommend you to use the paint bucket O because I've had many experiences that even when I just expended my selection there still a big so line with no color on it at all. And it's blocking me, and I don't want to fix in later on, so you can do it by using your brush. If you don't like that, there is also not our options. So you're going to select this one right mouse click feel and therefore grounds caller and set up. So we have to base collar off his body. It's looking good so far, but I'm going to change a small and but I'm going to change some small things because his flame is not blue, but it's red, so so normally, if you pains in a layer this happening, but if you want to paint inside your layer, then you just have to click this button. It's a locked transparency bottom, and it will make sure that your strokes and pains only stays in the part of colored so it won't go outside the lifestyle. As you can see, this tool is just literally lifesaver. So if you paint outside the lines, there's nothingto worry about. So I'm going to use that just to feel the bass off my flame and soda. And also my cheeks are going to be yellow. So what I'm going to do with that is I'm just going to grab my big round brush skin, and then I'm going to make thes a little yellow. So I'm not coloring in the entire chicks because I want to Great small crate Ian's just like over here in the cheeks. So that's going from light to dark. And now we're going to feel this sport. So four days I'm just going to use the same layer again. If you want to use another layer. Uh, just do that, Go with whatever you want. I just don't want to use that march layers because using too much layers can also cause you losing track off your layers. So again, in the liner layer you're going to select with a magic wand toe. And if you hold shifts, you come create multiple selections. They were going again to select modify expanse three pixels. Okay, we're going into the color layer or, in this case, the body layer. And I want he spots to appear darker on the skin. So I'm going to create a dark color just from the color palette. So we used this kind of color first. Now I'm going to create a dark reversion office can down coloring noon. And for de selecting, I used the shortcut. Command defied way. So 40 eyes. I always use different layer because I like to create really detailed eyes with reflections in it. It's a truck, so I'm going to call it eyes. Always make sure to trip color layers on the nature liner layer. If you make the mistake that you're just creating, it's above your liner layer. Just just grab your layer and record under needed like this. So 40 eyes. I want to, um, give you a reminder. That's, um, of course, your eye is white. What is he? A lot of took pains to its stages. Go to this white part and they're just going to call reds like this. But this just looks so unnatural because she have used white in its purest form and using colors in their purest form will look really unnatural. So it also kind of looks creepy right now. So I'm just going to delete that real quick and why it looks fake. It's because over here I don't use all those colors in their purest form. So if you're going to use something like white in its purest form, it's going to look fake. So what you're going to do is you're going to use a darker version, all flights, so actually great, and because I don't want to go to low saturated parts, I'm going to drink it, kind off a little bit to the right. So now it's kind off, Craig yellowish. But this is like a great color for using for the I White part. It's not. I'm going to colorants. Maybe even a little darker over here. So distinct color. I want to keep force I Weitz or force. I actually don't know if it's called I wide, but if I say I white I mean the white part off the I, of course, so, fortitude, we're going to do these same. We're also not going to create white teeth, and that's because most of the people don't even have whitey. So if you have, you've probably seen those people with those really white Dietz like white in its purest form. And it's kind of looks fake like I don't find it attractive adult. So we're also just going to create a yellowish side off the teeth and like this, just the ice layer. What's going to create a separate layer of seats at moments? I'm just going to call right. I don't always use the selection of feature to color things. Sometimes when it's just really easy to color, I'm not using it so like for now like this, because when I'm going to use white as Puris form, it's going to look really fake. So remember, lock your transparency to paint inside your layer. This just looks really fake. It actually looks like I erased it. Maybe even more yellow, because it's also kind from monster. And I think it's cuter with two yellow teeth and also the bottle side off his feet. So I actually haven't thought about that. So our I told you that I don't plan everything in advance. Maybe it goes. Use some kind of thank for that. So I just cracked the color over here from the color palettes. We can also just take a look over here. So again, if I'm going to use a century cornered, scores look really off. So I'm going to hang over here in the middle, or I just think I'll go with this color again from the Radiance. So again here, going to luckier transparency, toe paint inside the layer. They're just going to bring the bottom of his feet. So for now, it doesn't have to look perfect, because we're still just going to blend everything else. Or I actually don't know how it looks bad with being or with those yellow sense caller fees . No, I'm just going to create e yellow parts like this, so I think we've just finished the base colors off breath and I'm really liking. It's how it's going to turn out. I'm so, so, so excited to see how it's finished, so I'll see you in the next month You'll 6. 5 Everything is made out of basic shapes: So before we're going through blends, I'm going to talk to you about a small reminder. Remember when I showed you that presentation slides about how shadow and highlights behave from different objects? Now it's time to recognize all the shapes into one day, still drawing or sketch. So maybe if notice, or maybe you'll have them both. Actually, everything is made out of basic shapes, and by seeing all those basic shapes into your drawing, its can really improve you by coloring the right way. So what I mean by that that offerings made off basic shapes I'm going to show you. So for this digital drawing, we're going to create most easiest lights or so from top left. So during this digital growing, we're going to work with a light source from the top paths. So as you can see, the cheeks are made out of spears. So for the cheeks, I'm going to throw spear around. It's that's a really creative spirit, but it doesn't matter. It's just for showing. So also, over here we're dead. I mean that it's light is coming from here on the cheek here, over the highlight and shadow will go into the nice, beautiful Cray Deion's. So when you look like it at this way, it is pretty easy, right? So onto the next shape. This is also spirit, but just a little bit formed. But because it's round and doesn't have any corners, it's kind of works the same. So here goes light. But instead of Rome show like this, it goes more into action because his eyes are actually X shape. But I noticed when I was doing in light Lords, so I was probably hungry at the moment, just like these small spots there also around. So it's up to you to decide if you want them to point out or just want him to be in the skin if you know what I mean. So if they're in the skin, they don't have a separate highlight and shadow. But if they kind of point out like this kind of free trade, de, we will have to save effect because this bar is also going to be rounds and then with shadow in the highlights. So this one is a square, so it's not a cute, but you can give to teeth a little dimension by adding a side to it like this, and then you have to make sure that's the highlight. Is here in the shadows over here. So going onto this shape here, you can see these are made out of two cylinders, so it's something shapes you don't have to take them to, literally. So, of course, with cinder, here's the highlight, And over here on the sides, it's a shadow. But this cylinder, this shape is made out of two, so that doesn't mean that's here. Won't happen. Nothing. You just have to connect them, which your creativity and imagination so does require some practice, some logic to which will develop when you're painting a little longer. So you have to create a burn cylinder from this. This is actually made out of long, big circle, and from here it's made out of T shapes. So again, this doesn't mean that here won't happen, not fame. Make sure to make sure to use this shape of yours friends. So from here, the highlights and shadows will happen, and from here to see it as kind of for Miss Shaped cylinder over here. And Ralph is actually also made off spear, meaning that's the highlight will appear here and Shadow will appear in there. Now we're going on to his feats circle here, circle here and you're going to connect them with a spare. So here another highlight will happen. But you have to make sure that you blend this because otherwise it looks fake. So you have to bring them all together in harmony. So in the next macho, I'm going to show you how to build a pure colors and layers and even blend a little. And then I'll show you how recognizing all those basic shapes will benefit your way in calorie. 7. 6 How to build up colors (Highlights, shadows, etc): So now we filled out the base scholars and recognize the basic shapes its spines actually at time ation to our artwork. And I'm so, so, so excited for this march because here you can really see your character coming to life. So before we're going to build up your colors, I just want to show you how this is working with the drawing tablet. So I'm currently using your welcome. And probably any drawing tablet you're buying is working on pressure. So why does will benefit you is this is so easy to build up colors and lines. So first I'm going to show you with my line our first, how this is working and how this is spend fitting me. So for this, I'm just going to talk all this off. I'll explain later to you. What is this? And this one is the bend pressure by thickness. This means that if I'm pressing really soft, my line is going to be Finn. If I'm pressing hard, my line is going to be thick. So this is great because you can Farai your line or strokes with thickness and she could see over here. So it is great to play around with, um, and with my line arts with Ralph, you can see that I also fair writing thickness, and it just gives another complete, different look. Because if you would have to same stroke thickness, it would just look boring and my being. And you also have an option to Farrah your pen pressure for opacity. So if you're going to click this one on and this one off, make sure you also clicked it on here with transfer. And also make sure to click this one off because this button is actually the Samos this bottom. You have to make sure that they're both off authorized. It's still going to work with pressure with thickness, so also take off the shape dynamics. So now what's going to issue color is going to fare right in Oh, bestie when you're going to drop. So if I'm going to draw really soft, you'll see that I have a really light blue different going to draw harder and harder and harder and harder, etcetera. You will see that's it goes from oh pesty like 5% to opus T 100%. So this one is way more opaque than discolored. So this is great for building up your colors and highlights and shadows, so make sure for that this want to stick on and the transfer stick thumb. So if you take this one off, nothing will happen. And if you will take this one on this one, also, Adam metal click goes on, and then you can Farai again. You're drawing with thickness if lines, and if you're going to take a vote on, it's going to Farai in sickness and a fast E. So small pressure are fin strokes with low best in color and heart pressure. You'll see your Stokes, where we Ficker and your color will be more opaque. So if you have difficulties with building up your colors nicely, I recommended to adjust your settings from you're welcome tablets or any order tablet you have. So mine instruction manual is starch. I'm so sorry for this. It's manually on Dutch because I live in the Netherlands with a walk uterus so you goto properties off the welcome time. Let's over here. Make sure to find this. Here are your settings for you're welcome and just go to photo shop or any ordered it still drawing suffer you're using, then go to her, Ben and, uh, what it says here issue a pressure. So if you have soft pressure, if you're pressing really soft, it almost feels sure, um, pressure meter. So this is not ideal for building up your colors, because if we're going to press really softer your campus, it's already like really opaque, with 100% transparency and pretty hard to build up your colors so that if you're going to medium and this the softest on pressing, you'll see that the bars almost filled. It's 50% so this is already way better for building up your colors. But at this soft, by the way, this powerful. So if you're going to have a more powerful and now you're pressing on your softness and your hardest, you can see that there is a huge difference. And I actually have it on deciding, because this is the best way in my being to build up your colors, because when you're a pressing slow, as you can see over here, like to see your your collar is going to be really transparent. But if you press harder, it's going to be more opaque, so that's how my settings are at the moment. If you don't like it, you can just play around and see what's best for you. But I recommend this one. So I'm going to zoom in and from here we're going to add highlights and shadows to your artwork. So now it's really going to happen. So I always start with the highlights. So this our base color. So I'm going to move a little up for this one and them going as highlights. So because I have uploaded T brushes which you can find under the falls, you can pain along with me. With the brushes. You can also download your own brush to give it a unique kind of texture or even changed all those colors. So here, etc. Precious, you'll recognize my per set immediately. Make sure that you'll see those precious in the ballot, and this one also bears there. Then we see Vikan dreck IDs no against. So this one also belongs to the balance. But this one is more for creating line arts. So how you want to highlight a shade is based on your personal preferences. I actually like to give it the kind of oil style look. So this wine going to use one of these brushes or maybe even this one? So, actually, for the biggest part, I'm going to select a round brush with noise. This one, because this one blends so nicely and it's amazing for beginner, so we're going to work with that one. So you have two options. How you want to do it. You can create your highlights and shadows in separate layer with the Clapping mosque. So what? That we're just going to create a new layer I accidentally grant to. So that's why. Deletes the other one? And then we're going to right mouse. Click one second, please. And on creates clipping mosque so it's actually the same SC lock transparency function. But only you're going to paint in this layer in a different layer, so still you can draw outside of the lights. So depends on your preference. I just like to pain in one layer. So as we already discussed lights, coming from over here means that's because this general shape of Ralph is a spare or actually an X shape spear. So the highlights going to come up here so this is not despairing, but I'll fix that later over here. So and now you can call her pick between those scholars and then just make a smooth transition and because he's kind of action and make sure the highlight is also kind of act shape like this. But I want to increase the highlight little more now. We have kind of this car, but I want to make it way lighter, so over here. And they were going to create a small highlight points for this, like this. So always try to work your way off from the color planet because if you're going, just use this and try to blend it. It's going to be a lot harder case, and I'll leave. Some nets were just going toe work our way down to the shadow. So this the base color and I want something slightly darker for the shadow. And because this is an X shaped kind of spear feeling the shadow is going to be here. Okay, so I'm going to start by adding the shadow. And again, if I'm pressing, lie either I won't at that march color, but even pressing harder, the more color will appear. So this is great for building up your highlights and shadows. So now impressing really lights. And now I'm going to press a little harder for the bottom part to make this darker. So we're also going to stood out here lights and over here we're going to make it darker. Lights in dark. Now we can just color pick from here and planted offering nicely. But I want to create a bigger shading, a darker one, because lights come from here so there's no way that's here is light. So now I picked a darker color. So we're going to press really softly on a 10 minute we're going to plan Tous, and from here we're going to color bake again to lend it, so you probably get it now. So if you press really hard, more pains comes off. If you press really soft, less paint comes off off, and this is like ideal for building up your colors. So if you don't have these, you would have done this and then you have to blend it, and I would just be a struggle, like blended the rear, blending the colors. It's just not really fun way to work like that so more about working with you. Brush to later. Also, always make sure that this one is clicked on and over here at your brush panel. Make sure that your transfers also clicked on because if you don't select it, it won't work with pressure. So make sure you select it over here and then you're good to go. So a lot of mistakes I see people make is that there contrast in your highlights and shadows don't for right to march with Dad's. I mean, I'm going to create this again. So what a lot of people are doing is they just do this and this because they're too afraid to shadow. So you probably noticing that when I'm zooming in and out of the work off, the profuse macho is coming on like direct lines and stuff. That's because my PC isn't rendering those things fast enough, so don't panic. It's not like a book or something. It's just it hasn't rendered yet. That's why you saw those weren't lights. But a lot of people are way too afraid to add more dimension to their artwork, so they're just doing this and they called these highlights, but you can barely see it and shiny. It's so it's so flat it doesn't at by mention. I know your first time is scary blending. You've shoot, seen my first digital painting. Dirt were barely highlights unbearably shadows, because that was just way too much out of my comfort zone because I was afraid that if I'm going to use rough highlights and shadows, I would overdo it. So I'm going to delete this layer and where you're going to the back against you immediately see how much more for defamation this is. So later on the next march, we're going to talk about how to blend all these things properly, and I was just going to continue with adding highlights and shadows. So for the big spare, I used this soft round brush over here, but I want to use another brush. It's kind of face scratch brush, so all of the's almost all of these brushes work with pressure. If you don't like that, they work with brush, your just Dakhil these off and they bones work with pressure anymore. So if you talk always on, they are going to work with for sure again. So it's not rocket science. You just need to get to hang foods. But sometimes I just really do enjoy to see those small strokes because it gives an oil look. So now I'm just going to use my scratch brush because it's one of my favorite brushes. And now I'm going to continue on the feet. So remember Light is coming from here, so because we already discussed is those are small little spear. So the highlights going to be over here on the top. So we're going to get to the highlight. Bart's over here first lighter color. They were going to sue in and again, we're going to make sure this one is clicked on, and this one's clicked off because if we're going to do it like this, you have to press harder to build up your colors. But your strokes also going to be figured, so make sure this one is off and only this one so it won't for right for form, so it won't for Ryan sickness, but only in the past snow. I'm going to press like really slow making big circles and then press harder, harder and harder as a circle gets smaller to have a nice layering. You can always like adding some strokes to blend it a little more like this. So I'm going to do that on all the 10 tacos Tentacles. I don't know how you pronounce it. I'm so sorry Just going to fill this in because this shading only belongs through the bottom off hiss face, but not on his feet or tentacles. So I'm going to reset this collar by coloring it back in again like this. And since this is the full pesty off the other color, I don't have to get all the way back to us like my highlight again. So again for us soft and make baker circles. And as the circle gets smaller, you're going to press harder again. So this stent tickle is pointing to that way. But since this is still spared the highlights going to be on the same place, so fear big circles and ask, The circle gets smaller. You're going to press harder to create that nice little credence. So this one is a little bit off. That's because issue can see my brush will slacking because my left off. So I'm going to do it again. So I just go to have cut that scene out of the video. But I just want to show you that after drawing for five or even almost six years digital digital, I just want to show you that I am also making mistakes. So that's why I decided to not to cut that scene out. So now I'm going to get back to the color palette and select the lightest scholar. So this is going to be way brighter, and then we're going to really create as highlight points here. So that's going to be like a really small circle again. You saw the red line again because of the leg. So and now we're going to do the same on the tentacles. So I'll do this really quick and then I'll get back to you. So now it's time for the shading. I finished up all the legs, tentacles, etcetera, and now we're going to shape. So I'm just going to call her pickets from this because that colors also in the balance. And here I'm going to shape my way in this painting. So care and make sure to build it up from light to dark, and here you'll see it. Tests created a nice pair, so now you can really see how those shapes are coming together. He's also a spare like this, so it's already looking cues. It might be. And so now we're going over to the cylinder. So here on the 10 school off thesis Ent color bars, I'm going to use a darker shade because you have to see the spear at one shape. So your small color transition, which is going to make it a little harder. You don't have to notice right now because I just levelled it up by adding a color transition. But if you don't know how you have to do that, that's still the okay. By the time that elapses, when you're just form performing your distal art and when you're just breakfasting it, you'll get the hard enough it. But this one spear and here comes the highlights. So because here's a shadow, this part of the 10 school has been, like, really dark, so this kind of looks fake a demon because we still have to blend this part. So which we're going to do later on. So can this also Spierce over going to color. It's like a spare. And because here's a shadow we're going to use the dark part of the color palette, fill out this cheek, and this is how it's coming to life already. I'm so excited. I really like how dis it's looking so far. Oh, my goodness, he's his cheeks are so Buffy right now. It's just so durable. So I'm going to finish the rest off this digital painting with shading, and then I'm going to get back to you. 8. 7 Blending without looking like an amateur: So now we've arrived in the next macho blending without looking like an amateur. So there is one column mystic people make when they're blending, and that is removing the contrast in nerdish fainting. So I'm going to show you what I mean by Dad's within seconds. But in this macho, we're going to learn how to use the mixer brush toe and when I don't recommend you to use it. So when I don't recommend you to use it is in cases like here, for example, for the tentacles, because you've already built a pure colors and there's already a nice color transition. Orc Radiance butts. If you don't like those circles you see and the bank marks, you can consider removing that with the pain first. Onley, In my opinion, that's kind of for most texture off your digital painting. I personally really like it that you can see all those marks and stripes off the pains because that at some texture and that's also my stop. Okay, so I duplicated the layer to show you the government's take a lot of people are making is they're going to use to mixer brush tender, going to use the soft brushes. The first brush in Photoshopped, Probably the Benson. If you've updated not, but it's the standards round soft brush with the soft anxious and then they're just going to blend everything out. Help my apologies just to forgot to lock transparency and going stood up. Right now they're just going to blend everything out just to make it smoother. So this is a government stake before making, - and I finished. So this is the cover mistake people make when they are blending. I used to make this mistake to, um it is being too afraid at contrast. And the mistake here is that people are going to plans every single color into a smooth transition with the soft color brush. A lot off beginner digital brainers are using the suffering brush to plant things. But I want you to promise me one thing from now. You're not going to use to soft round brush for blending Onley when you have to make Grady INTs or transitions, so repeat after me. From now, you're not going to use a soft round brush for blending Onley, where you have to make radiance or small color transitions because now we just have a flat digital bathing. There's no harmony in it. There's notes extra in it. There's no dimension is. But you can see that from here When I removed the Slayer, uh, this t originally did. There is very much more texture and waiting more defamation. And don't forget to realize that this isn't even finished. But if we're going to start off like this with verily no contrasts, it just looks boring. So this is the way you want to go from now. So here you have your collar buildups. You haven't even blend things. But from here, everything is already looking. All right, so I'm going to delete outer layer. Also, I'm going to show you my first digital painting so you can see how I use blends. And yes, you're allowed to left. Okay, here it is, and I'm dying does look so terrible. So this is what happens when you don't go out of your comfort zone and you're just literally blending every small detail. So I can remember that I was so proud of this, that I tried to sell its on David's art and off course and didn't work out because it's just it just looks like crept just to say it that way. There's no dimension in it at all. Maybe I'm even going to redraw it to C five. Improved. But we're going to zoom in just to take a small look at it so we can see that there is no contract since picture it also your some shadow. But it's not darken, often eerie of some highlights, which are no light in love. And here should be some rough hard edges and the Harris not blends correctly. And I did this already soft round brush, which you can also probably see, so it kind of looks terrible. So I don't want you to notice. So don't you see self round brush only in circumstances when you like, really need it. So, for example, I used to suffer round brush over here because here is the highlight point and goes to darker, darker and darker. But on top of this layer, we're also going to add a rough edges and texture layer. So it's kind off. Dozens, like, really count. At this point, just make sure that you're finished, layer. You're not using your soft round brush. Okay, so now we're going off to blending. I'm going to use one of my painting brush for this. If we screw at the very bottom, I'm going to use this one with the noise in its. So I'm going to explain some things about blending and using the blending purse. First of all, it's located under de brush. I can. So originally you'd see this one. Just hold it and go to mixer birstall. Here you have your options. House will blend. So dry is it's going to blend like, really difficult. I don't use this option that march because, in my opinion, it feels like forever that you're pressing until its planets. It's really nice. Just sue. Plan some heart excess toe. I always use moist because it's in the middle off dry and wet, and it just plans perfectly, might being. So let me see if I can show you that some around here something that needs to be blended. I know what I'm going to do. I'm going to blend the tentacles, this one over here, So if you're going to blend this, you'll see that the color transition turns out really smooth. But not as in fakes. Move because I use one of my brushes, and it kind of has a little texture on it if you're going to assuming, you'll see that kind of noise, which is really cool. So this is what moist us this my personal faith for preference. And in my opinion, the wet one is a little bit so too much because it's like, really hard to plant. As you can see, it doesn't have like a beautiful color transition. Um, not on my feet. And but here it's the Bensel you personal preference. Uh, very what it's like not transitioning at all can be like, really annoying to blend in that way. And under that, you also have, like, voice like makes moist, happy makes. So there are also different. But I just use one off those without to makes options. You can also make your own blending brush over here. In my opinion, that's kind off mania. Sidhu, I'm really sorry for for using those words. Bus. I just don't like it. I just don't like playing around with this, but you get to only do that so you can also blend with a color on your brush. So if you press this button. It's going to loti fork around scholar over here, and then you're going to plant with this color. So that means that every time you're going to plant this colors also getting mixed into the they're still painting. So we're going to pick a lighter color so you can really see the difference. So if I'm going to try to plant ease to this scholars going to appear to in its so you're trying to blend but another color superior. But this can be really helpful if you're just selecting the color in the middle and just starting to draw and to blend more to that site, so I so it can be, like, really helpful. I don't use it that march, but I use it sometimes. And if you want to remove the color, just press this one and make sure that this one is clicked on because if you don't and you're just going to blend again, the brush is going to load itself with this color or actually the part you've plan, which can be really annoying, because if you want to plant this Parton, it's going to come back. So if you clicked on this one, it won't come back again. So that is how issue plants. So now I'm going to blend in the soft tentacles, and I'm using this brush because it gives a texture and I just don't want to use the soft round brush. You can also choose not a brush for my brush Bamut, which doesn't give that Spain look. So I'm going to use my round brush with a texture on it. So it's not the self round brush. It's like, really different. And I'm just going to slide over here in the middle, like really slow just to make that color transition. And this one also works with pressure. So if you're going to press harder, it's going to blend that more. I just want to get rid of all those heart anxious because they kind of look fake, in my opinion, maybe even create some small circles. Now I'm going to go back to my ballots and select the color in between off these colors and what I'm going to do now is I'm going to love my mixer brush, waited and in the middle of this color transition, I'm going to use that color to blend them even more. And now the color share blending even better because I select a T middle tone off the color panic I created for days. So this is how it works when you keep reloading your approach Just usti eyedropper tool Teoh, select another color. You want him to load weighs. Just start coloring there and then you'll get a nice color transition off those colors. So now I'm removing it, and I'm just going to plenty stew with each other. And to that, this is how I plenty tentacle colors. So this one already looks way more natural than this one because this one has a way too harsh, anxious and horse anxious can also be great, because in the other macho, I'm going to show you how to work with hard edges and how it'll at a more realistic aspect to digital painting. But in this case, it just doesn't look natural. So just a small plant. You don't have to blend it all because where you're going to planet always also going to look fake because there is a point where it is going to change scholars, and it doesn't have to be that specific constant will look fake if I'm going to plant its all out to make a whole creating offense. So I just like how it is now. So I'm going back to the color Paramus select middle color again. And then I'm going to work my way out with the other ones. And now I'm going to blend the scholars. And again, and as she can see by adding that mid zone off that color transition, the blending goes way easier. It looks way more natural. And it really likes gifts that beautiful, radiant. And now we're going to do the same over here. And in this case, I just prefer to create small circles, supplants thes collars. Okay, so now I know it is that I want this part office tentacle a little bit lower, so I'm going to select a color to make sure brush toe. Then I'm going to draw some strokes here to push the blue collar a little bit more. So what's to butter? And I'm going to create some small strokes to press the blue color more down. Okay. And now I'm going to do the same on the cheeks and again, the harder you press, the better it'll blends. I'm not going to like this. Part of the color transition is really hard. So if you got this right of the first time ruffle seriously, you earn my respect, and if you don't it's completely normal. So keep trying. If you practice this enough, you'll get way march better. - So another tip I want to give you is to only blend on the action so don't land more than it's necessary. So if you're going to plant out off days, the color transition is way too much of a distance in this case. So because the cheeks on Lee have limited the mild space like your supply, you and your CL already you only shoot plans on the anxious so you can make stripes or small circles as we discussed before. And here we have everything blended, so that is how you plant your digital painting. So as you can see I Templin too much, because if I would turn us into ingredient, it'll look kind fake. Ah, loose texture and I just like it once planet softly to make room 40 anxious and textures, it's a trap 9. 8 How to add rough Edges to your digital art: So remember when I told you that's rough? Edges are also important. Additional painting. Well, today is the day that we're going to add some rough anxious to our digital painting so rough anxious are helping you to create object shadowing, for example on his cheek. Over here you have to shading over there. But we also need some shading after the object itself. So with that, I mean sharing on the surface. So here comes to light from so area. If you're objects, here's your object highlights. Here's your object shading, but you also need shading on the surface. So in case on his body over here or his face or it's his face and his body in one, I will just call this face. So there should be a shading over here. But I'm just going to create a clipping mask over here just to make sure that's, um, I'll stay in between the layers, but I still have a separate layer in case I want just some things. But if I'm just going to create shading like this, let me give you an example over here and blend it all out. By the way, you can't plans things if they're in separately or so I can plant these two together because they're innocent were layer. So in this case, I have to take on simple all layers. But what will happen then is are also plenty line arts. But we're just going to use it for this example. So if you have to shadow over here, then you're going to blend off this again. It's going to look so, so, so fake. So we're not going to do that. So what we're going to do now is we're going to create object shading and heart anxious. And I am going to try to use the blending brush as less as possible because by creating this all on the separate layer, you're actually forcing yourself not to use the blending brush, but to build up your colors. So, four days I'm going to use the dark scholar. If the color palettes remember, the light is coming from here. I'm just going to illustrate it again in the color bed layer. So the light is coming from here. They were going to create a small son. I actually should have done this like before, but I've mentioned so many times and now it's kind of obvious obvious that the lights coming from here. So I'm going to call this lady heart anxious. Just so you know, where I'm working on, then I'm going to start to build up my layer over here with the dark colors. So first I'm going to call her. It's softly. Then I'm just going to color. It's harder and harder and harder like this, so I'm not going to build it up like really smoothly, because from this circle, the light is shining and is going to be hard etch. So here are some small, um, things you should keep your mind. So if this will be some light, you would have like a really harsh shadow. But if you have some soft light as far from your subject, your light is going to be. I mean, your shadow is going to be like, really soft like this when we build up, but in this case, I don't want to do that because the objects itself is like a really hard shape. So that's why I'm going to create rough edges over here, where the states it depends on how much it is leading to the front. So if it still is like to the very front office mouth, then there will be a huge shadow. But if it's just resting on his bottom lip, then there will be small shadow because there's not much of a distance between his teeth and a slip bar to meet whilst in accidents case. And now we're going so creates. Ah, hard edge from this again, any with hearts anxious, I just simply mean not using the blending brush tool or not making too many transitions like here. So now it all kind of looks a little bit fake, but that's also because we can still see the liners. But you can solve this by just clicking off, because then you have those empty, ugly spaces and she can see over here it's It just doesn't look. It just probably doesn't look as she wanted. So I'm going to show you later on in another macho how you can clean up the line arts without having all those great gaps. Okay, so here we also have a rough edge lights coming from here, so I just like to sketch before hands. Howdy anxious, going to look so what also it's like really realistic fact is a playing around with heart anxious and build up layers. So when shadows closer object, you're going to use a hard edge, which is going to transition in softer, a softer and softer. Also, make sure to sue my was regularly to see if your shadow is still intact and if it's still correct, I just noticed that I just need to add It's more at the top off his cheek. So that's why I assumed out, going back to my color palette again, selecting the dark scholar. So even after I removed the Leinart, I'm still going back to adjust some things and to eat, maybe even at more contrast and shading and set up. So I actually also want a darker version of two shading like this one, which we're not going to use that march, but only when it's necessary. So I'm going back to my color layer color, better layer, and just at this, for the rough shading going to luck it again go to the heart anxious and here I'm just going to create a small stripe off that color. So we have a hard edge and then softer and you'll see a really small transition. So it's going to require a lot of practice and you should be willing to practice. But one should do this a lot, or maybe even do. It's daily assure little exercise you're going to start noticed that those shading and adding those heart anxious goes natural. So maybe in the beginning can be later with hard to find where you shoot at those heart shadings. But, well, I'm sure practicing you'll be gone like a natural and sometimes in the beginning can also be scared to add scruff etches because it's gonna look like you're ruining your framing. So it's just really trying to think off the logic off your digital painting like Where should be a heart action? So from here, because this tentacle is spent, there should be, like kind of a folds over here in his feet and over here, too, because it's rising up again and then I'm going to correct a dark color. It's just to make a tiny little fault, so I'm going to click this on so I can work with pressure so I could just draw one line over here. So this small finger is your heart fetch in this digital painting? Oh my goodness, it is coming together so much already, it's starting to look like really Maisy. So now you can see that by adding some heart inches, it can drastically change your painting. He's starting to become so cute. It's just abnormal here is going to be like a rough shuttle points to draw his eyelids right now. And, of course, we're also going at a harsh at heart. Actually, that's one, but he's coming to get her already a lot. So how as a hard edge underneath the smoke, because his upper lip is in front off his bottom lip. So that's why there's any contrast in shading looking cute. Okay, I'm going to remove the eyelids. I don't like them. I'm just going to create a shadow on the scythe, so it's going to be a small shading because his eyes aren't bumping death march out of his hat just a little bit. They're just little bit, um, the worst. The front. And you can recognize that in this picture because I added shading, because if they would just rest on the face flats, that devil devil in the shadow can says, This is a spare. I'm also just going to add a small shading over here, and Ralph is just looking adorable. So probably in the end, when everything is cleaned up, I'll just come back again and just some shading and highlights, etcetera. But for now, it's looking really good, and I am done with adding the heart actions finally. So this took me some time. I can see on the record that I've recorded for over 48 minutes. Of course I'm going to edit this in the ends, but it took me some time. But now we also have for assault. So now I'm going to show you how it looks like without the heart anxious. So this is how it looked before. So no hard edges, just shading, large supposed to be. But now I'm going to show you the object shadow and the hard benches. So this is just a huge difference. And also the ice. If you can see there's just an insane amount of difference. And in my opinion, by adding some heart anxious, you're just giving your digital invading a more realistic look. So I really love how to stern out, and in the next macho, I'm going to show you how you can clean up your liner to make it even more realistic. 10. 9 Cleaning up your Line Art: Hello, everyone. This is also the less macho off this skill share class, and here I am going to show you how to clean up your Leinart. So now we have those stark blank lines. But if you want to get rid of them, I'm going to show you how you can do that. I really recommended to get rid off your dark line or because in this way, your digital painting it's going to look way were realistic. And again, as I've mentioned multiple or even 1000 times at this part, it's going to add more dimension, harmony and realistic look. So this is also why you should have separated the lighter layer. So we're going to go to the liner layer over here and by just removing it. They're going to be some caps. So you don't want to achieve this because this looks like terrible and really think it's going to cost you so much time to feel in those gifts. So we're going to do this. Wait a not away. So for this, we're going to go to Liner Layer and we're going to lock T transparency so we can paint inside the layer so So now I can paint inside this layer, and the line or layer will change colors. Oh, this is actually not that terrible. I actually like this style is actually pretty cute with all that. Thank you know, but I'm not going to do that because also the Pincus wait. So brides for discover Bennett's. Okay, so this always my biggest struggle. Where on earth am I going to start? So there's not like a lot off line art on the stage still paining, so we won't spend hours on this, I hope. But I've had paintings with a lot of liners, and it's just a pain in the ass to color it. But believe me, to Russell's will be worded. Okay, So make sure that your oh besties locked. We're going to zoom in for this, and I'm just going to start over here and work my way up. So what you're going to do is you're going to pick the color that's close to the line. Or so this one. Not this on me. Customs going to look fake, as you can see. But this one. So let me see if I can use another brush for this because I haven't used much variation in my precious in this class with riches. Unfortunate, but off course. Since you have to brush yourself, you can explore your own, which is also really fun. So Fortis I'm going to use, I think my textured round brush with the noise in it because I like it. So this one is actually the same. But it is flat, so it gives not or look, or I can use this one. No, I'm going forward around him. So what we're going to do now is we're going to pick the color that's close to your line north, so make sure that your in your line or layer picked the color you once and then start coloring. So you're conceded the colors lighter than make sure to use a lighter color. So this process is, like, really precise if you don't want to see the Leinart anymore. So now we've come to Barts, where there is a clear to fire in colors so you can work with the transparency and, uh, by so in this way, you can use your brush and just and pressure so he can create a smooth color transition or you can use your mixture brush tool, in this case to plenty defied its colors out like this. So it depends on what you find easier. If you don't want to stretch per Treem 1st 2 and blending brush, you can just use your regular brush your curly using and just, um, adjust your pressure just to blend things out like a color buildup, as we discussed before. So now I'm going over here, I'm going to do the same, so I'm going to zoom out to see if I can get some bigger chunks. So, yeah, you can see that this process is really slow. But look how great it's going to look when you get rid of the line or like it's amazing. So I'm always cleaning up the Leinart right before I'm going to add texture, because if I'm going to do it the other way around, it's way harder to smooth out the liner because you also have to blend in all the textures , etcetera. So first I clean up the line north, and then I had my extract texture, so here I'm going to blend along with the shadow so you don't have to do this millimeter by millimeter, because when you zoom out, you won't see the difference. But just make sure that's when there's a big color transition that you also just should change the color you're working with and also you clean up your line or it. You can also bump into things you just need to change. For example, here I I want to make the flame a little more difference. - So I am almost finished and you can see that it's looking way better. But you can also see that it still needs kind of improvement for except before the shadow here, etcetera. So removing the Leinart, um, allows you to see things that you haven't completed jets or things that need some change. And that's why I always removed the line art. But sometimes you're drawing is also going to look funky from it because this year looks really weird. I just noticed that I need to change the ice more and more contrast over here at Sitra, but in the end it will be worded, and this is how we're office looking like Riddle t line or so it's looking way, way, way better Off course, we have to make some adjustments, like the shading here and some extra shading. But you can only see those adjustments when you remove the Leinart. So in my being removing liner just also really good for your coloring study. So now I see some small mistakes after just and changed the eyes also at more texture on that and more, uh, texture on the cheeks and the tentacles and the flame and everything. So not by only removing the Leinart will your digital painting, the better. It also help you to spot me stakes you haven't seen before. So in the next Marshall, by adding texture, more highlights and shadows, etcetera, I am also going to fix all those mistakes. 11. 10 Adding the final details (textures etc: Okay, everyone, we have arrived to the last macho off stage to painting and calorie, so I have mixed feelings about it. I am so excited to see Ralph come together, but the most kind of set, because after this, I have to let you go. And I really enjoyed hanging out at you and learning you all these things. So let's try to make it the best marshal effort off this digital training course. So here, we're going to search up Ralph, um, fixing the mistakes, adding texture, more highlights and shadows, etcetera. So we're going to start. So what I want to do first is this kind of optional of us. I want to merge all the layers because then it would be easy to give it kind off a tar shop . So again, you don't have to did it. But I just prefer to work on it like that. So I'm going to merge everything, and then I'm going to create another layer on top of Fitz. And then from here, I'm going to start working on the start shops. So first I'm going to fix those shadows those gets who creates a clipping mask and once you've creature clipping mask at this time we can to build up your layers. So I'm going to use my other brush for this and then adding that shadow on the back. So give it more off trade. The look. My computer's doing a little bit funky. Let me fix deaths, Justin spacing and said, I'm now it should work. All right, So the reason I merged these layers is if I would it like shading. I would have to work in the liner layer and then on the heart X layer and the base color layer of the skin so you'd them. You have to work in three layers just to make sure that there's no difference in the and I just don't like to do that. So that's why I'm urged all those layers. So from there, it's really precise work because you can differentiate the layers anymore. So everything is on one layer. I'm going to make this a little bit more rough because it's not a good circle ice Casey. Okay, so also adding some shading here because lights coming from there. So here, shading I am getting excited with the minutes about is throwing okay, So this is my first in off. I'm not going to folks through march on the flame. Okay, I'm not going to start you anymore because I know myself, and then it will take me much longer to finish this. So over here I'm also going to end that slide. Little bends. So if you can see even the lights come from there, I create some small lines shadows over here to x dimension. So I'm going to teach you everything about backlighting and back shading later on in this macho and she could see over here here I have some added some shading to, so it looks more realistic. Okay, so here's how Ralph looks. When I fixed all these shadows, it looks way much better. So what we're going to do now is adding back lights. So I'm going to create another new layer of back lights and I'm going to create a clipping mask off its on top. So what I just did was strikingly layer under the clipping rest. So it automatically creates a clipping mask and then track it back to the top. So back light is another way to, um, at more harmony and dimension to additional painting. So what I mean with back lights is this so first, I'm going to change my brush. I'm going to use this one. Then I'm going to create a small stripe off free, lighter color over here, a de ferry back off the digital painting to give it a nice, soft little club like this. So you can really, like, see some lightning coming behind the shadow. Now it looks like it is really cloning, so don't go too light on the rise. Um, it's kind of looks live with fake, but just use a color Deaths eight ohm lighter, Quintus. Now you have back lights. So, um, one rule of thumb is to remember is only at back lights at shadows. So where their shadow you're going to add back light. So in this case, it was over here and also here. Maybe I'm even going to add back line to this whole part of T. And since this is a cylinder shape, so there should be backlighting. Backlighting is like, really optional because in most ways, when you're looking at your reference or photograph, there is no backlighting, but I just like it to touch up your drawing. Okay, so when backlighting really comes in handy is when you have to shaded objects overlap each other, like over here. So normally, what people do is they're going to make this parts behind identical, darker. But if you're going to do that, there's going to be like a really big guns rest in order to see the difference. And people are just going darker, darker, darker and then it looks really fake or too dark by adding backlight is really easy to differentiates those subjects like this. So I take this one long remembered. That's going to work it, Ben pressure. So if you for us soft, you'll have 10 lives. And if you press harder, you have take lines. And since thes two are combines, it will also for rhino bestie. I did that so it will ends over here with a small stroke and schooling from small to fake to fake to figure. And if you zoom out, it is really easy to see difference in those two objects without having to make everything darker or lighter and cetera. So welcome in the magic world of backlighting, so just continue to play around until you get to result that you want. This is the part word spending. So if you add back light over your till you'll see Mork on threats in the part where it's going to fence, let's just take a moment to appreciate how this always coming together with wedding back lights like I love it also, by adding back line is like way easier to How do you say that to accents those folds on these tentacles or feet? So I'm just going to make the backgrounds way darker so I can see the backlight really come to life. So when your background is this dark, you can really see those spots you've missed with your back lights. - Okay , so now I really think that I finished all the black lightning and now it is time for adding color. Darch. So I use color torching to highlight some extra points of my digital painting. Make it even stand out more So in this case, I don't think that I need much of the color darch because everything is already really detailed, but normally is a great act to spice up your drawing even more so for dead. I'm going to create a new layer, created clipping mask and go its color torch. By the way, I need to change the name off. This so I'm going to do now. Isn't going to grow up a lighter color than the base scholar like this one. And then I'm going to draw it only points I want to add more highlights. So over here is all right over here and then a little more on its tentacles and then on his upper lip because I want to highlight that a little more and then over on hiss ice, I think I'll do it in a separate layer. So for this, I'm also going to use the cheeks, make it lighter. And now you're probably thinking, Oh, my goodness, it is so much more lighter, but we're not even done yet. So on the layer motor going to one of these layers. So we're going to check which one is best for this. So first I'm going to light it. I don't see much of a difference. Then I'm just going to press the elbow down. Now I'm on screen collar darch. You could see a difference in your color. Your chin screen. Linear George light and color. Overly so. Flights. Hard lights you've off these kinds off layer options. Just check out, which is the best words. I don't think the color darch option is adding much of a difference. Lynn. Your Dodge. Nope. So when I'm going to do now is I'm going to lock to transparency and make that all white and see what it's going to do then. So now everything is whites, and I'm going to change the layer. Moz again Call her Dodge, so normally you'll see much of a difference. But because we've already at its a lot of highlights and shadows, you won't see a difference with this option at this moment. But that's OK. It's actually good sign, so I'm going to set this to heart lights. I don't going to reduce your bestie. So now we have a slight difference, and I'm also going to do dads with the shadows. It's called a color burn. Kind of sounds rough, but it's totally fine. Okay, now I'm going to change it to one off thes darker. He won't see much for difference. Multiply while deaths adding a lot of difference. Collar burn. That's kind of to march. Linear bird darkened caller That doesn't adds a difference, too. I actually like the milk supply one or maybe the color burn Tim Clean suit make it's more off smooth transition. So don't panic yet. I know it looks really dark, but we're going to fix. That's but, well, that is definitely not what I want to chief. So lower grades continue going to make a starker too. Maybe a little more to the crease sites so it won't be too saturated. No so distinct difference with color burn. But now I'm going to reduce the opacity so it doesn't look too dramatic like this. And now we can see that we have a nice balance off highlights and shadows in our rough. So maybe I can change the color dodge. Okay, now on his eyes. So because I picked a kind of yellowish color, it's looking like the sun shining on his face and the colors also turnout. Former and now just try to play around with the color dark scholar burn adding back Clyde's It's a trap until you really have to feeling off its okay like this. And now it is trying to add some textures. So this depends on your personal preference, how you like it or how you don't like it. So I'm going to add those spots. - So now I've added some textures in the wrong layer. I see. So, yeah, I remember when I told you that you always should pay attention to your layers. Well, right now is teatime, for that's So I'm going to redraw all all those textures in right layer. He's looking way cuter, its texture. So I'm going to another texture layer because this is going to be kind of an over laying there, and I'm just going to dreck around T shimmer. I'm going to you see layer move Milt plight. I'm going to use overlay moto at all. These kind of textures didn't really self. He's looking cute, so I don't want Teoh eth texture everywhere because if I'm just going to do that, that I'm going to ah, devalue the texture. And also it's kind of an overkill. So I'm not going through that only at certain parts, and animals are going to add texture on light parts. So probably also going to you see over name words or multiply. Nope, not knows, play overly. I'm just going to remove the lights here, does it not happy with them. Maybe that's a small schumer over here just to make it look a little cuter, Who I loved, and I'm going to do that. More parts. There, There. Okay, so I'm going to decrease your bestie little because otherwise I'm kind of afraid is going to look like later. And I don't want it to look like later. Okay? I just think I want to get for it off this to march life over here, So I'm going to change. That's okay. I totally Neil. That's I have no idea how I did that. No. Okay, so now I'm just going to move his back. So the lighting is not to Dermot Dramatic. So no, he finished. He highlights the shadows, the back life color, darch and the color burn and the textures. And I were going to continue the icing on the cake. And if you have meditation, you probably know what we're going to do now. But I can understand that it's kind of hard to guess. You just have to look at this dish soap paining. And guess what's incorrect. So I'm not going to leave you hanging here. What's incorrect? Iss hiss Flame isn't shining. It is burning, but there's no light coming from it. Okay, so we're going into the lights texture, color layer, because the layer mode heart light is already correct for this. So what we're going to do is first, we're going to imagine that the flame is actually burning, so we're going to corrupt the rats, and we're going to see how the light is going to catch. So the light is coming from there, and it's going to add a nice little clover here and also a little bit over here and maybe even a little on his hats over here. I don't want to overdo this parts. Oh, that's close. Beautiful. I'm going to recreate That's clothes. Esta clover here. So that's what I'm going to do it again like this. So this is a great globe. I'm going to check if I can movies also towards here. Okay, I'm obsessed. I really hope you're as obsessed as I am with this. I also hope that yours will turn out even better. I really can't wait to see all your projects so don't forget to uploaded in the class project section. I am going to promise I'm going to look at often. I'm promise you. Okay, so now we've added the reflection off his flame. It looks really fake now, but that's because the flame is not really burning. So for this, we're going to use non a trick. We're going to create a new layer. Make sure it's not a clipping mask. We're going slack dis brush over here, actually over using that brush the whole time they were going selecting middle color. It's this one and then we're going to press soft or your debit and make small circles. And then as we get towards the middle, we're going to press harder, harder and harder, just like all those other color building exercises like this today. He didn't We're going to play around with the layer mo to see which formed matches its best dark in New World supply color burn living your berm dark in color by the screen, this one is already a little better color. Darch Whoa! That's, like really bright. But we can go with that one when you're dark. Me, not that satisfied light and color, not overlay. Also nuts. Some flight hard lives. Fifth, it lives linear lives. I really like to linear light. So if we're going to take this one down, there's actually burning. But I'm going to see how it's going to look with what does the other one again colored starch. This one. So this one is also like burning. But what we can also do is for we can change the color off the play your modes over here. Well, actually looks really cool. We're just going to click on the color palettes, and we're going to select its light color to color the flame wits. Nope, not what I meant. Like hiss flame is really burning, and it is so cute. So I'm going to extent your radius off the flame by pressing really soft and building it up towards the middle. Okay, so I'm going to do this again. And now a Some erasing this. You can really see the difference on how it's looking like when you add it. Those layer overline modes overlay, Moz. I mean, so I kind of have my tabs because I'm afraid this one is too bright. Okay, so I'm going to reduce your best. You've this one a little. Okay, so now we finished. Ralph 12. Some final words + What next?: Okay, so now we finished. Ralph, I truly can't believe that we've already finished them. The time goes by so fast. Even though I have, like, eight hours of recording material, I'm going to end it now. But I can't believe that we're done already. I'm just going to miss this hanging out with you and coloring Ritu etcetera. So if Ralph didn't turn out as you hoped to make sure to practice every single day I remember my first wrong. I showed you. Well. Six years later, I control this. So if it's your first time and you won't succeed at your first time, it's completely normal. Like most of the people won't be a successful at their first time. But make sure to try every time. Maybe you can sit. It s a weekly exercise and just baseball together and see how much you've improved after one month. Two months, three months? Seriously, I would love to see your improvements, so make sure to submit your artwork below at the project section. I promise. I'll look at every project. I'm really excited to see how you created Ralph. Maybe you've even at your own style. I am so excited to see how it's going to turn out. And also, if you want to follow me around on other channels, I also have needs the ground. So if you're working on my skills share class, make sure exactly. And I also have YouTube channel rich You can subscribe so to check on my videos. So again, Thank you so so so much for joining this class. If you enjoyed it, leave a comment. Shoot me Message only Instagram shared with your friends It's a trap And I hope I will see you in one of my other classes soon. Thank you so much. Have a great day. Ever Great Here, have a great life Everything. I wish you all the best and I'm really going to miss you and I'm going to miss hanging out with you. But thank you so so so much for choosing to watching my class. I know time is really valuable. So I really appreciated that you I took the time to watch my class even though there are, like 20,000 Klassen skill share. Thank you so much, chicken. And I'll see you around by