How to draw unique characters (part 2) | Chris Petrocchi | Skillshare

How to draw unique characters (part 2)

Chris Petrocchi, I help artists grow on their journey

How to draw unique characters (part 2)

Chris Petrocchi, I help artists grow on their journey

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4 Lessons (1h 7m)
    • 1. Introduction

    • 2. How To Create A Unique Character

    • 3. 6 tips to improve your Unique portrait drawing with values and gradations

    • 4. Photoshop Color Harmony Demo

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About This Class

In this video I share with you helpful tips on how to create a more unique portrait by combining a unique element with a unique face. This is a mini version of how we create character designs in the TV, film and game industries. To get started I will cover developing your idea, creating a mood board and then moving into the 'blue sky' thumbnail phase to iterate your ideas on paper. Let's get this character!

Let's face it, we all use reference and observation from life to make good drawings, and there's nothing at all wrong with that–it's how we get better. In this lesson you will also discover the big secret to making your portraits a bit more original that almost no one talks about. Hint: it has more to do with simple design solutions than it does with drawing, something you might find surprising.


Visit More Classes To Improve Your Drawing

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Easy Way To Draw The Face Using Shapes

10 Minutes To Better Portrait Painting

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Chris Petrocchi | Draw Jucie Studio

P.S. I want to share with YOU my personal favorite tools that I love drawing with to help you get started. Links for each tool online included! Find the FREE LIST here: (Affiliate links included)

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Chris Petrocchi

I help artists grow on their journey


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1. Introduction: Hey everyone, In this video, you're going to learn a fast, efficient, and fun way to create unique characters with your portrait drawings. No more pain and frustration when embarking on your creative journey. I'll be sharing with you a mini version of the exact workflow I use to create characters and concept designs for TV and games. And this time I'll be using it to help you create unique portraits that come alive and are one of a kind. To do this, we'll start by creating a mood board to find inspirational art and imagery to help guide your process and clarify your vision. After that, we'll move to a process called iterative thumbnailing to help you explore ideas and compose the best visual presentation of your image possible. And then I'll take you through a time-saving three value graphic system used by masters of art history's past like Rembrandt and Caravaggio. That further helps to clarify your vision and cut way down on painful rendering times. So I'm ready. Are you okay? Well, let's jump in. 2. How To Create A Unique Character: Phase 3 of the art drawing challenge is to create a unique character. So that's what I'm going to try and cover with you today, some steps for that. So basically it all, it revolves around your idea. And your idea is king. Your concept is king really. So the first thing we really want to do is kinda make a mood board. Alright, so moodboard is what the professionals in the TV film, animation game business referred to. For a place where they kind of aggregator for all your ideas, your inspiration for your game, film, TV. It could be colors, textures, moods, right? And specific reference, characters, props, and so on. And in fact, I have a mood board here. This one looks like it's kinda for Pirates of the Caribbean kind of movie. And it's got the characters, props, you know, Swords, Guns, locations. You can see the skull Island, the ship. And also kinda like color reference, what, what's going to be the mood, this particular movie or even seen. So the moodboard is, is very helpful for all that kinda stuff. So we have an abbreviated kinda mood board here that we're going to work with. But you kinda want to gather reference so you can do a Google search, you can do a Pinterest search and put it on a Pinterest board. If you do a Google search, just whatever you end up getting, just put it in a folder on your computer and then open it up and then kinda cure rate this stuff and put it into Photoshop. So let me open up here some of this reference. Okay, so this is an abbreviated mood board, right? And it's got some of the ingredients that we're going to need to create a unique character. So what you wanna do is curate everything that you've got and kinda whittle it down and then arrange it in Photoshop or Procreate, or just even you could print it out and pin it up, right? So just have it in an organized way where you can see the reference pretty well. And so I've set it up so that we have mood board reps on the left and on the right, a place to draw. And that'll be the easiest way, the most organized way I can think of. And so you can also use a program or an app called pure ref. Pure ref is a great app that just sort of hovers above an on top of Photoshop. So it's always there. So that works really well. I would recommend one. And so the first step is basically gathering the reference. And you know, in that I think. In your, in your moodboard, find some inspirational artists, okay, and so let me show you what I mean by that. This will be part of the mood port here. And grab this tab. Okay, so I've gathered together some creative portraits for inspiration. And I'm gathering that you can see this. I hope you can see this. Okay. So there's a few really cool artists here. One is Dave McKean. He's been around for, for decades, but he did the Sandman book covers and inside illustrations. And he was a master at creating imagery and combining things to create these great metaphor. So you can see the books combined with the face and the body to this guy, this person's a fountain knowledge, kind of a bookworm perhaps. And so he does that in a very clever way of always loved his, his work. But we have Laura Rubin and she's great at having things just emerge or combining things. And that's the whole point of this. We're going to combine an element with a portrait. And the elements are going to be the things that we drew in the first week. So we do a leaf and Crystal, an ear, and so on, right? But the sky's the limit. You could, you could actually use any element and combine it with your portraits. So here she's combined some flower type plants and it's a kind of a puzzle that's opening up this guy. Accurate. May I could make it on Instagram. He's got some wonderful, wonderful art that combines almost anything with a portrait. And you may have seen his stuff that's out there. Whereas another example, here's something else is combining these peacocks, right? So birds, he has people smoking in band-aids on their face. And so it's really, really something. Here's another one with birds is beautiful stuff. So it ranges from simple to complex. Here's another Dave McCain, so he's got some, some horns growing out of the top of the head. We have this flower kind of theme. Flowers are all over the face combined and in beautiful ways, I love that. Right? There is Laura Rubin again. She's combining wings. And so this, you can put this in your mood board. I love how the, he's combined this books together with her face. So coal and butterflies, right, flowers. The sky's the limit. So the point is to have fun and create something, create something unique and challenge yourself, okay, it's always a challenge, right? Let me just check really quick here. So put all that stuff together. Inspiration plus your element. And you are, be good to go. So let me, let's jump into, back into Photoshop here. Very good. Okay. What do, okay. So I've got a little space here to draw. So I want to create a, create a little, a little frame here. And it's a good idea to create a format, create aim that you can work in. These thumbnails are going to be small, bare bones kind of information. Just the most basic information is compositional. It has to do with who's in the shot, what's in the shot, and everything that you're editing out. And if I have some flowers here, I have a skull bird. You can see I've got an octopus and then I have a few really good reference photo. You're going to need some good clear reference photos to work from as a base. So you can add to that. And so let me, let me just kinda jump in and try to combine start an idea. So this is just going to be a line drawing. I'm just kinda looking at my reference. You can, you can combine a couple of different references from here, a couple of different faces. And the point is, if your idea is clear, then you can spend many hours rendering, right? But if it's not clear, if it's not good, if you don't believe in it, you can spend that time rendering and the end result maybe isn't so pleasing. So you'll want to spend time, maybe good to three hours doing some reference sketches and taking your time with it, right? Don't have to be perfect. I'm not going to put too much detail. It's not for detail. Whatsoever, she's kinda for what's the position of the head? Right? In the shot? What's in the shot? I don't like me. Just write this as I want to move it. I want to move it down a little bit. I need some room for some of these elements that I'm going to put in there. Now, I forgot to mention. You could but head and just draw onto the reference if you want to. You could, you could take like a wing and add it to the reference. Okay, So I can, I can put wings somewhere and just kind of see that way. If that's something I want, if it's working, right, so that's one way to do it. All right. Another way to do it is to just go ahead and dry it. Okay. And so that's what I was kinda doing, but I wanted to show you that, that you can just draw right on top of the photo. So there's two ways and I'll show you the second way. But let's see, Let's go back to black. Okay, So here's my woman. I'm gonna make her kind of looking, looking camera, right? And then I want to add some, let's say bird wings. Okay. So I'm just going to be checking out my reference. And I would say, let's go for a big or a small, medium and big kinda workflow. Okay, so just go ahead and I would say start small first. That's always, always good. Can be a little overwhelming. But let's say if you have a goal to shoot for, Let's go small at first. Okay? So we're just going to add a little bit of this element and see kinda how we, how do we feel about it. You know, because we might want to feature the portrait face and the element secondarily. And so the portrait that the woman is the star of the show here. Okay, so she's, she's there and we have our little by little element. Add it, right? Maybe she has a little earrings that our bird feathers. And let's just say, Okay, we're called that, that's our small. All right, let's kinda take this and make it small. So what I'm gonna do here is just make a few of these. How we do the process of ideation here is just an iterative process that we can explore ideas. You never want to really just go with your first idea, right? Gets, you wanna do maybe five to 10, just get the bad drawings out. First, right? Has the better stuff. Might be your first idea, but it's underneath the surface in the subconscious. So you want to give yourself a chance to explore things that are there, right? And so that usually just needs repetition. Iteration as they call it in the business. Okay, So now let's move on to, let's say a medium. I'm just going to erase this here. This really is Photoshop, really speed this up. But now I'm going to go with something medium. So what could that be? Maybe that could be just covering. Maybe it's this. Right. I could have lots of different reference of wings and stuff here. That would be really helpful, right? So she's got some on the other side as well. Maybe it kinda comes down over her forehead a little bit. So I'm just planning this out. Do I like the composition? Is she big enough? Is the figure ground relationship attractive in this? In other words, the background and the figure. Is it interesting, right? And maybe she has some, some feathers here too. And so that could be a medium using the reference little bit bigger, right? Okay. See I haven't really hit on anything yet. You know, it's going to take a little while to get to something that I just think is awesome. All right, So let's just let's keep going. And then we can do know a big one. I'd recommend just staying with with 1, 1, 1 model and just work with that same one over and over. And you'll get familiar with it. You'll get warmed up. And your drawings will get the get better. So what if we wanted to add like a flower or something like that? I kinda like this, this flower right here. Is there something I can do with that? You know, maybe she's coming out of the shower. So our head is inside the flower. And so one thing you want to do is before maybe you jump into this is practice with the elements. Do a study of the flower or the bird wing, and get familiar with it. And that way you'll gain confidence when you go to combine it with the portrait. And I think that is it really a great way to work? I would recommend that. So nothing, nothing's really easy. So this one's a little more involved than the first two. Right? I'm putting her head inside this this flower because I'm just trying stuff out. You know, I don't know what's going to work. But it's kinda like the way an artist mind works is they see two things, right? Like a cup or a mouse and a computer mouse. And then they see, you know, a, something else in that. It's like a jet fighter or some kind of science fiction vehicle. And they combine those two things. So you can combine a bird with a mouse or anything else and see what you can come up with. Now I'm not doing shading much at all. I'm just trying to develop the idea. That's why they call it ideation. Idea is King Wu. Okay? And so maybe that's fun. Maybe I really am having fun with that. You know, it takes some back and forth. I might have to do this a few times before I get things. Right as far as proportion. As far as placement, how do I really get that person's face inside? Those sense of shadow right there. Okay. So that's so that's that. So I tried, tried. And maybe it's just something so cool that I never thought I could do. Surprise yourself. I'm going to take out the neck because maybe it's just the flower with the head. Okay, so not too bad. It's kind of like that idea. Almost looks like a hat from the 17th, 17th century, right? There's all farmers used to kinda, where these kinda like Pilgrim hats, you know. Okay, so there's that idea. Okay, Cool. So that's, that's kinda how it goes. I just had three there for you, three ideas. And you can do a kind of a, right, go from small to medium to, let's say this last one. Maybe it was large. So small, medium, large. And then you can kind of see what really works. What's you want to push? You want to develop your idea and also push it. Push your idea too far. You know, this might be not enough, this might be too much. And you'll find something in the middle maybe, but you don't know what's too much until you push it too far. And so that's a good rule to, to go by. So if you're kinda thinking, how do I combine this? Used the big, medium, small approach. If I took her her face here. This is combined In this stuff. Just going to cut that out. And maybe I can make it look a little bit smaller. And that'll make this the big, the big application of the element compared to the portrait, right? So she's a lot smaller and she fits inside of this, this flower now. And I kinda like that. I like that better. So it would take me 345, maybe maybe 10 drawings to get. To get it to where I think, oh, that's cool. I want that aha moment. And one of the ways that you can use to judge this. How do I know what's good? Just use your gut instinct. If it's a if it's a hell, yes. If it's a thumbs up and it's good, trust your gut, but that's good. And if it's a work no way, then it's not good at and move on. Okay, so I would use that, that method. So there we are. Let's see. There's another way. So this was the first way. You actually, that's the second way you draw on the photo. The second way is you can do iterative thumbnails, right? And there's a third way. So let me show you that way. And this is called photo bashing or kit bashing. And so what it is is I could take this, you know, this octopus. And I could sample it and then painted onto, onto my character. I could take parts of it. And this is painted on there. Write in this way you could, you could do a photo collage in, in Photoshop and work it all up and then painted, right? You just kinda use the photos and experiments. And so that's kind of a fun thing to do. Do it like that, right? Or I could take this bird wing and I move it up over here. I could replace the eye a little bit and just keep sampling different in different parts of it. And just work it up. You know. So if you need a step, I recommend doing this step 2 because it's, it's pretty direct and it's using, you know, it's going right off the photo reference. I like that. Part of the neck right there. That's cool to add like a texture. Right? And I can put, you could combine several of these references together. I wouldn't overwhelm myself with it, but you could combine the flower with the bird, but it can get a little bit too much. But that's another way to, to do it. Or I could take this skull. Let's take the skull. And I'm going to move it over the top and position it here. Let's say I kinda like that. And then I'm going to use a layer mask and I'm going to click on option and call up a layer mask. So it disappears because the layer mask is black, so black conceals it. This is gonna go to my paint brush and paint with white so I can, I can reveal it. And this is kind of a nice way to just slowly kind of paint in. I'm going to turn off this texture. Right? And combines stuff right away. Oh, that's cool. I like the big against the smaller face, right? So this is a case where the big reference, the big use of the skull, could really work well. You know, big eyes against a smaller nose and mouth. And that's fun. I'm painting with white and that's revealing the mask. You can see over here. There's a white hole in the black mask. This is a, an advanced technique which you could, you could do a Google search on how to do it. It's a little bit, you know, working with masks, but, you know, you can do it if you have some Photoshop experience. And I can move it around. Right. But that's kind of a quick way to get there too. And that's fun and experimental. So the point is to have fun, keep your momentum going and create something unique. 3. 6 tips to improve your Unique portrait drawing with values and gradations: Hey guys, I'm going to give you some powerful drawing tips on how to improve your portrait illustrations. Wait, why would I do that? I should just keep it all for myself, right? I'm too nice for that. Alright, so I'm going to give you those tips. Hold on to your hats because here we go. Okay, quick tip before we get started. This three value system that I'm going to show you can be done in pencil, charcoal, pencil, and digitally with a wakeup tablet and a pen stylus. So you can feel free to jump right in because these are universal concepts that will make your workflow much faster and your art more clear to your audience. All right, Let's go. Alright, I'm sitting here with a cleaned up line drawing that I did of a portrait and combine that with some wings for the challenge. Now, from here, I can do one of four to six things, let's say roughly and wanted to take you through a couple of those options. And I'm basing this on a three value system, makes things very clear and simple and hopefully it will draw the viewer's attention in. Okay, So option number one is full value figure on a light background. Now we have a figure ground relationship. The ground is the background. The figure is the thing that you're interested in painting. In this case, this woman is portrait. So full value. She's full value on a light background. Next option is full value on a dark background. Very simple and stark. I love this one. Then you have dark on light. This could be a backlit situation. Using photography all the time. You can give it a nice rim light and it'll be very powerful. It. And the next one is full value with a gradation from top left dark to bottom-right light. So introducing a gradation is very powerful. You can also mix this up with kind of a glow, right? So you have full value. Figure on a middle dark background with a globe. It's very Rembrandt like and brings the attention to the front of the face. Next one is gradation, right? Full value figure on middle dark or middle light background with a gradation from bottom to top left. Okay? And then you have kind of a high key situation. Heikki means that you're using the top half of the value range, say from value 1, which is light, all the way to, let's say value five. So middle of the value scale. And it, it has a certain kind of emotional impact to it. It's very light. And I'm using a dark gradation on the left side of the picture so that it draws your attention to her eyes. Okay, we have these six options laid out here and let's discuss them. On top-left, you have full value on a light background. Obviously, she's the star of the show. There's no competition in the background. Very simple. Just render the face and your good. Moving to the right full value on a dark background. This one has. Stark contrast. And it makes the gradation and the organic forms inside the silhouette of the head take on a certain 3D quality with the black background that's flat, no gradation. So when you compare the two light background, dark background, this one is much more dramatic. It's kinda chiaroscuro, like a kinda GO painting. And I love that. Came moving to the right. You have the next setup which is dark on a light background, which is a backlit scenario. So she's in shadow on this one that makes her kind of obscure, right? So if you want to hide the character or keep them a little bit of a mystery until you reveal them. This dark on light. This scenario could work well for you depending on what it is you're trying to say. But you're definitely obscuring the character for a little bit and keeping the value range in the character kind of low key. That is, you're using the darks and middle darks and excluding most of the lights. And that has a certain psychological impact on the viewer. Alright, let's move to the bottom left. Full value on middle light background with a gradation. Now what the gradation does is two things. Movement from, let's say, top left to bottom right. And it also silhouettes the character in a certain way. And in this case, the contrast is near her eyes. So we have middle dark against a light face and your eye will go to the area of greatest contrast. The bottom right and lower half of the picture doesn't have as much contrast, so your eye doesn't go there. Very good. Okay, So the next one moving on is full value on middle light background with a pool of light. So this is very kind of Rembrandt lighting where he did that spiritual lighting with light cascading down from the top and you had a dark, dark shadows and a dark figure. This is a variation on that. So you have a middle dark background, kind of flat, and create a pool of light around the character space or wherever you want the audience to look. And it's that pool of light that creates the illumination and the contrasts. And really the emotional impact of peace, spirituality. And so it's very effective. I love it. And then finally, we have a high key on light background with gradation. So the high key, again is just using part of the upper register or upper half of the value scale from one to five. So you can see in her face, it's very light. And Let's see, this has again, a kind of emotional quality that you can draw from if you want the character to be feminine. I'll say poetic, appearing, light and friendly. Then you can use this kind of scaled down value range. And I've put the gradation in from left to right, going from dark to light. And again putting the contrast near her forehead and eyes. So your eye goes first. So I'm art directing you to give you several different reads. Let's say it's the eyes first, then you go to the lips and neck, and then finally to the back of the head and come back around. So I'm causing the viewer's eye to move through my composition and that's what I want. So I hope that's helpful. I find these to be very powerful and they're kinda based on a three value system. Just dark, medium, and light. You can do so much with that. But with this kind of approach, you have six different things that you can do. You can, you know, you can start with the line drawing and then just play around via thumbnails with some of these great Asians with very little rendering. Really. You know, you can just render the eyes, nose, mouth, and leave everything secondary to that. You don't have to put detail everywhere. The gradation gives you that sense of a kind of sophisticated rendering where there is none, right? So it cuts down on the amount of work that you have to do. And it is effective. It creates movement, and it also creates a kind of silhouette and draws the attention of the viewer to where you want the viewer to look just by that simple device. So I hope that helps and I hope I explained that well. Try it out on your characters and see, you know, see what you think. I think you don't have to go to straight to rendering. That's what we kinda do. But just selectively render a certain area and let the background play around with dark on light, light on dark, right, full value with gradation from left to right, or gradation from right to left, top to bottom. You have so many options with this, okay, I hope that helps and we will see you in the next one. 4. Photoshop Color Harmony Demo: This is going to be a digital tutorial. It's not traditional, but it's digital. Okay? And so I apologize, it is not traditional but digital. Nevertheless, it will, should hell. And I'm going to tell you what, how I would go about it, how I used to go about it, how I go about it now that's a little more efficient. And then I'll show you some ways to come up with good colors. So there's kind of a technical aspect to this and then a practical all right, so I'm going to share my Photoshop screen with you. Okay? And this is my unique portrait, and I'm going to go ahead and start to color it. Now what I would normally do in the past, I'd call up a new layer and I'd make it multiply or color. And that way I can paint on top of it transparent, right? And it'll show through what's underneath, right? So just kinda try and pick some pick some colors, right? Maybe they have some green hair, right? I don't know. Some purple feathers. And I just do a really tough, rough color. So this is a color rough. This is kind of just exploring color. So you can see what's going on, right? You can see before you make a commitment, what colors look good, right? And so this would be kind of the way I would go ahead and then I could call up another layer, duplicate that layer, kinda go through the process again. On the color wheel, you can start. They have some suggestions here where I don't know if you can see you can't see my color wheel looks like, okay, that's too bad. But they have suggestions on complimentary triadic tetrad stick. But you can't see that. So then I would go ahead and call up a new layer, make it a color layer, right, come over here. Let's try multiply this time. Okay, so now she's going to have green feathers. And this is really rough, right? Really quick just to get an idea of what I could do. Maybe blue hair. And I'm just reacting kind of gut level, right? To what this stuff is. Going to cover these feathers down here. And then the skin. Maybe it's, maybe it's this. And that's okay. I could do it this way. There's another way that we could do this. And let me show you that way, because this way is a little bit slow. All right, In the new method, okay, we get a new method here. I'm going to make selections of each area. I'll select the face, the hair, the feathers, and the background. And I'll show you how to do it and why. So if I take the lasso tool and I make a selection photoshop, you see these marching ants? Okay, I can go to select and say save that selection. I can give it a name. Call it. Pair. Looks a little bit like a pair. Okay. Save that. Okay, now I can deselect what I want that selection back. This is important. I'll go to Select and Load Selection. And then I can search for that pair and say, okay, and then there it is. I can select brush and I can color inside without worrying about going outside the lines. So it's, it's really tight, really efficient. Okay, So let me de-select that. Get rid of that. All right. So I've pre-selected of the hair, the face, the feathers, and the background just by that method, by making a selection with the lasso tool and then saving it, naming it so I could call it back. So it saves it here on these channels, these black squares are where it saves the selections. All right, so now let me call up one of the selections. Load Selection face. Okay. Now what I'm gonna do instead of painting in here, I'm just going to come down here and click Solid Color. Okay, so there's a lot of different things you can do with color, with value, and you won't be affecting the layer beneath. So it's a non-destructive way of working. I'm sure you guys know that. So I'm gonna select Selective Color. Now what that does is it brings up the color picker and it selects a color, fills it with in that selection. And now I can just go and pick some random color click. Okay, now what that does is creates a solid color with a, a mask next to it. So this black square, the black is an alpha channel. The black conceals. So it's opaque. You can't see the color and the white reveals. So the white part is like a hole in the mask. So the rest of this document is dark. You won't see anything except what comes through that white window in the alpha channel. So the green comes through. Okay, so let's do it again. Select. This is just gonna be like a process of repetition. Load Selection. Let's do the feathers. Click. Okay, and now I've called up my pre-selected feathers. And go ahead, solid color. Now, let's say I want to do just, you know, I don't know. I don't know what to pick, but I'm just going around and showing you technically how this works. Next thing, let's do the hair. So Select, Load Selection. And where's the hair? Okay. And call up a mask here, solid color. And now I can just yeah, why not that? Okay. Say okay, and then the background, Let's do one more. Select, Load Selection, Background BG, Okay? And now I can do the same thing. Solid color, and pick something, whatever. Great. Okay. So now what's really cool about that stuff is that I can change these things on the fly. So if I click right in here, in this color, solid color, I can just go ahead and start to pick any color I want. Just like that. So that's the advantage of doing this on the fly quickly. So I'll do more of these. I want to iterate and create as many color comps as I can. So what I'm gonna do is select these and hit Command E. That's going to collapse all the layers. All right, Actually first before I do that, I'm going to select these and copy all of these. So it just duplicated that whole thing. Then I'm going to take the duplicate and Command E. That's going to collapse all the layers, then I can just move it to the side. Okay? So this is a bit of a production. Right then I'm gonna go back to my original. And now I can just create, again colors on the fly, right? Really quickly. The hair, want it to be orange, okay? The face or the feathers? Let's say I like that. The face again would be, let's say more of a normal color. All right, good. Take those, duplicate all of them. And then Command E and then v. I can just drag it down and then do the process again. So I have these two new ones and I can go back to the original and go through the process. Again. The background. Okay. The hair. Maybe it could be more black. This process is so, so fun, right? It's so clean and I can just get through it real quickly and it just gives me a color palette, a color harmony really quickly. I can see what's working, what's not. And I can quickly discard it if it's not. So select all these Command J, Command E to collapse all the layers and V on the keyboard to just drag this to the side. And then I can kinda look at these. And then continue on, right? So I've done three color, rough color options, color palette right there in a couple minutes. Now, but you might say, well, that's great. But what about the colors? How can I find great colors? Okay, Very good question. So I'm going to take you to a very cool app. An app, but it's a website, kind of an app. Let me share this Chrome tab with you. It is called dopa, the colors. Okay, Now this thing is so powerful. I've never seen anything like it. I would really recommend that you grab hold it there. So colors dot duopoly DOT TOP and check this thing out. I mean, I don't even know a tenth of what this thing can do, but it's really exciting. So what you can do is click on Explore. You can go to Palettes, right? It automatically generates just tons of palettes for you. You can take any one of these palaces seems to be like five colors in that palette. Grab a J peg, or grab a screenshot and bring it into Photoshop. You can do colors, right? That's not that interesting. Color an image is cool because check this out. They'll show you color palettes and then how they apply in a real photo. Right? So that is to me, because making sense of a color palette like this, like swatches, it looks like that's what you would paint your apartment with. But it's actually very cool to see how they relate to portraits, how they relate to real life objects, right? And so it's really like training your eye to see possibilities within these color swatches that might not make sense to you, especially if you're not good with color. It just might seem like a glee to some of these colors I like. That's no good. But really they work very well together. So I love that part of this explored thing. Okay, they have gradients to and you can look at sort of one color and how it's affected from dark to light. And you can move the gradient around. Which I think is really fun. Thanks that there's so much. So there's the two colors in this gradient. And then you can adjust the gradient from top to bottom, left to right. Okay, that's in the Explore tab, in the Tools tab. Okay. Click that. You can go to color palettes, right? And it has the color plus the gradient. That's pretty neat. All right, You can edit the gradient. And I'm not sure exactly how to do that. You can just drag this around and again, change the gradient. The amount of colors in the gradient, right? So it goes from left and jumps over to the right. And you've got all of these colors in the gradient color converter, color toner. This actually what I'm really interested in is the color wheel. The color wheel is what we're interested in mostly. Okay. Leave some comments in the comments box. If you have any questions, I'll try to answer them. But this is really handy now. So you can grab, Usually I like to do three colors, right? One colors good if you want monochromatic, two is good for a complimentary, but three is kinda maybe where we want to go. So it starts off with three. But you can go with again, the complimentary mode. And that just means the opposites on the color wheel. So yellow and blue, red, and green, those are compliments. Purple and yellow. Okay, so those are just compliments on the color wheel. This is monochromatic. So if you just want everything purple or everything orange, right? Everything yellow. And then you can add dark to it or act light to it. And it's creating down below down here some swatches for you. Okay? And then it looks like you can add a swatch 2 here too and build your own custom palette here. Here's an analogous right? It's just everything blue. And to the left, blue-green into the right. Blue, purple. And you can use a perfectly as a nice color harmony. So it creates harmonies for you rather easily. And I'm not an expert in color, but I do know some, something about color theory, but I really have to work at color. So let's say we wanted this. You know, you can take a screen grab. Like if I just Grab this. I could pull this, pull this up and bring it into Photoshop and just select from those colors. Okay, so they have triadic and tetrad. And so there's a lot of fun things you can play with here. Let me just go back. So that's the fun thing about the color wheel. If I'm in the color palette, I can download this stuff. So if I'm here, there's a little Rubik's cube right down here. Right? You can click that. And it will randomize the color palettes. And you can just keep clicking and coming up with something that you like, then you can download it. So there's right here, this is Download button. If I click that icon, it will download it to the computer and I can bring it into Photoshop. So there's a, an analogous, right? That's cool. This is stuff that I wouldn't be able to come with, come up with on my own. But if I let this generates something for me, maybe that's, that's really cool psych and I can download that. Let's export it as a JPEG export. Okay, so I'm going to find that, bring it into Photoshop. And let me switch screens so you can see it. Here I am again, hey you guys, hey, all right, share screen. I'm going to share my application window. So there it is. Okay, so there's my Photoshop with this swatches from duopoly, which is dope. So let's try that. Let's see if this thing can, can kinda help us out here. See if it works. Who's going to put it off to the side here and then try to come up with some new swatches. So let's make, let's make the background blue. So where's my background? Right here. Double-click on that. And I'm going to go ahead and just sample that color, right? You've got the little I'm dropper that comes that I can sample that color, say Okay, and let's just go down the list here. To the hair. I'm going to sample green, OK, to the feathers. I'm going to sample this orange. And this is going to be yellow. All right? So I'm taking a chance here. I wouldn't necessarily, you know, maybe be attracted to this stuff, but it could work. I might be surprised. Especially since I'm, you know, I have to work at color and I guess a lot and it's just kinda hard work. So what I could do after that is just I could select this Load Selection face. Let's do the face. And then within that I can create a gradation. So I could pick this color and just pretend the light is coming from the camera, just pointing directly at her. And so then I could bring in a little bit of suggestion of form and just start to slowly build that sense that this is a 3D object. Right? So that's how I would introduce form into this and color, right? So it's a little darker value. Okay, and I can do the same thing. Select the hair. Let me call up the selection, Select Load Selection and hair. Okay. Select the hair color and go a little bit darker, right? Just go a little bit darker. And then I'm going to go up to another layer and then paint inside that with a darker color. So I'm going to give it a modeling tones so that it is pushing the sides back, right? So the center is the local color and around the sides, it gets darker as it moves away from the light. And that just gives us the illusion of form. Remember the light is pointing coming from you right onto the character straight away. Real quick. And I can do the feathers, so select, right? It's like a process allows you to kinda work fast feathers. Okay? Now what are these feathers going to be m and select the color and just go a little bit darker and do the same thing. Right? The parts that are moving away from me, I'm going to give it a little sense of a modeling cone and pushing besides back where I think it's going to go back. Okay? And then of course, I can build from there to start to introduce values. I could draw inside the character and just refer to like my drawing. So I can go ahead and then put detail in and then continue with my painting or my drawing as traditional. And so this could be, this could be on paper, it could be digital, could be on procreate. Now we just go to town. So that's how I would really kinda deal with color if you wanted a quick way to do it. And you were unsure about color, then this could be a great new way for you. I know it's always a struggle for me with color. It. So I would suggest that maybe that could work. You could try it and see what do you think. Alright. Alright. So those are my tips on color. And again, you could do this until you found something that you really like. And these, these colors that I blocked in there, just the local coal, right? Without regard to shadow or highlight. And you just want the local color of the thing to get a sense of what colors and how they look together in harmony. And then you can add a little bit of big form modeling to turn the form a little bit and then start to add like your secondary and tertiary details like cut out the eye sockets, extrude the nose, put in the lips, ears, and all the way down to the details and textures. All right, so guys, that is, that's what I have for you. I hope you enjoyed this as much as I did. And I hope it was helpful for you. And you guys have been doing great so far. It's really been fun. And we'll just keep it going till the end, we're almost there. All right. So I'm going to go sign off and we'll see you next time. All right. Keep on posting. Keep on creating. See you guys later.