Illustrating Cartoony Animals in Photoshop (Great for Pet Portraits!) | David Furnal | Skillshare

Illustrating Cartoony Animals in Photoshop (Great for Pet Portraits!)

David Furnal, Illustrator/designer

Illustrating Cartoony Animals in Photoshop (Great for Pet Portraits!)

David Furnal, Illustrator/designer

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
5 Lessons (1h 3m)
    • 1. Introduction

    • 2. Lesson 1 - Gesture

    • 3. Lesson 2 - Linework and Shape exploration

    • 4. Lesson 3 - Flats and values

    • 5. Lesson 4 - Color, rendering, and Details

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

In this class,follow along as I draw an animal from reference. I'll start with a sketch, move along to a tighter drawing, and then proceed to color and render.

The steps:

1) Rough sketch emphasizing gesture and character

2) Polished drawing showing commitment of lines and emphasis of shape

3) Addition of values to the drawing

3) Creation of flats for coloring

4) Coloring and rendering, and final touches (texture, effects, etc)

Meet Your Teacher

Teacher Profile Image

David Furnal



Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.



1. Introduction: hello and welcome to illustrating cartoony annals and footage shop. I'm going to walk everyone through a step by step process involving painting a pet order, some kind of animal, your choice where I'll ask the class to bring in a reference photo, either off the Internet or from their own A library. And I'll guide you step by step through the process of a sketch, turn that into value and then turn that into color in the finish. So go ahead and find some reference. Um, I'm doing this in photo shop, but any graphics program that allows you to draw with the tablet is perfectly fine. And, um, like I said, we'll go ahead and follow this pretty simple four step process, starting with gesture, the moving onto line work going on to flats and value and then finishing with color and details. Follow along, and I look forward to seeing your work 2. Lesson 1 - Gesture: Okay, let's go ahead and get started on a project. So to begin, I have chosen a picture for reference of a family dog. But for this project, feel free to use any images you might find in the Internet of a pet or an animal you want to draw. And what I've done is they've opened it up in photo shots in a window demoed here and the other things. I have opened a photo shop with layers panel right here and the toolbar right here. And when I'm going to do is go to file new and I'm going to create a 300 resolution dp i and do this and inches, I'm gonna do it at, um, 11 wide by 8.5 toll. So that would be a landscape orientation because of the position of the reference I hit, create and then drag this out of the window. So what I want to do is have this is reference here on the side and just drink. That would do a little bit, okay? And then track these over a little bit. Great. So that I have my working with Bill. Just submit a little bit Basically, it's just a matter of arranging your items so you can see them. Okay, so I'm going to go in the toolbar and select a medium grey around this range. Okay? My brushes, which you can hit in the key word shortcut B. We can go to the brush panel here. I want a hard round, fresh. We're a hard round pressure sides brush. And when I do is I make sure that this icon is selected, which means that when I draw it changes the shape as I put pressure down. So for this I'm going to make a pretty small breast and then start trolling Start with the head and we're starting just doing by gestures. So gesture is the flow of the body. We're going to go into the neck and see him using a longer lines, that sort of fall of the curves of body. These aren't the actual contours of the body, but rather the direction of the body. This feels like the general fuel of it as it goes in the back and then curves back here to the leg. It has a series of opposing lines. This line close to this line close to this line. It starts to form very basic shapes this line to this line all the way here. I'm not concerned with the accuracy with shapes yet. I'm just feeling out the drawing take this. Flows right to the tail here says he was starting to get a generally out using just gesture . Figuring out your gesture early on like this will help so much in determining your placement and layout. And I can keep the gesture as simple is this. And just keep moving on to the next step because really just wanted to have that flow and make sure that it's obvious that this this is on the ground, all right, so then we can move on to our next step in the next video, which will be to starting to develop shapes and as well as committing to our lines. 3. Lesson 2 - Linework and Shape exploration: a little welcome to part two of the video. What I would like to do now is start to tighten up some of the lines and also start to find some and stop finding commit to some shapes. And what I did is I went ahead and made the overall image a little bit bigger to fill the campus and do that with control T for me or multi in a Mac And what that does get you a little bit of her bounding box, you can just simply drag or decrease. You can't move it around, hit, enter and then I meet a layer and top of that. What I'm gonna do is set the background layer with the sketch to a lower rapacity so I can still see it. But it's a little bit set, Pac. I'm gonna get a layer two and select a pretty dark color. Pretty dark ray. These are my final lines, but they're going to be ones that right? I'm going to show a little more commitment. Click. OK, go in and pick that hard. A hard brush. Full opacity make it a little smaller. We can increase and decrease the size of the brush with EU bracket keys. The key word. And then what I'm gonna do, You made a little bit. Which is the controller? Apple Plus or minus depending over to where you're going. I'm gonna start drawing on here. Okay, So I noticed that you still want to keep it loose, but I'm are starting to carve out the shapes The body in the head here. Still keeping a rough, being more committal here. This whole body shape Pulis this sort of thing here, going into the leg, making adjustments as they go along, noticing that this little smaller than I had it before having the 2nd 1 here. Forearms this little bit of the way. Okay, pause. See, there's still basically circles. Okay. And then here it goes up What I'm doing Even those a bowl here in the picture. Still drawing through toe where that that leg would be here because we can always make it separately with just the ball in it coming back here going by my center lines, which will determine the perspective on placement of futures on the head, for example. I know that the eyes they're gonna fall along this line here it's like this. The news is gonna follow him yet that it's part of the mouth here. Down here, this is over. We're part of the mouth. The tongue. This year's are kind of exaggerated triangle shapes the next time showing how it goes into the body. But some of these lines I'm not using it just kind of reference for me. I've seen that this could be a bit longer. I want to make another layer of just the ball here syndicate with a quick circle. We know that's overlapping, that curry is low. It's something actually gonna erase here, get tail. Still, following that gesture that I started in the last video also kind of follows a triangular shaped here. These shapes are still pretty simple, but it's a little more defined to help. It actually looks. It's gonna raise here a little bit just to make it more clear what's going on the mouth. Here you go. I'm not getting into the details of the eyeballs in or anything like that. Like a Cities is still pretty simplified. It's kind of giving more of a feel for the, you know, the character of the drawing. You're not a little bit. Okay, so I'm pretty happy with that placement and shape language so far. So she joined me for the next video I'm going to do. What's cold flats. We'll be using the lasso tool to fill in the shapes and to find them with great tones at first to get the value down and then the video. After that, we'll get into color. So join me for the next video. Thanks. 4. Lesson 3 - Flats and values: okay for this next phase, we're going to get into what I call the flats. And also some tone. And so what I'm gonna do is go and make a layer that's above the background layer and behind are drawing layer Here. I'm going to set the drawing. We're here to, like, see a 30% capacity, turn off the holier for now and go back here. What we're gonna do is use the lasso tool with it, which is just using the key word at home. I think shift going between the different Lasses and I want the organic lesser tool instead of the political one. So what I can do is make a lasso over the whole body and the make flats of the big shapes first and set them all is their own layer. So, for example, I just made one for the body here and to do a flat, I have a selection gonna bring in the toolbar. I'm using a mid grey. I'm gonna hit Phil, which you can go at it. Phil, we're also hit the keyboard. Stroke it shift at five. What? What you hear hit here is contents, foreground color, because that's the color that I've selected. My foreground here hit, okay. And it feels you can also hit Ault and delete or backspace, which will achieve the same goal of filling in whatever color is in your foreground layer here. Okay, so I'm gonna label this body, then I'm gonna make a layer in top of that and trace the head in the years I'm going all the way through because I want to even capture the part that I went under here, and I think I want to get the neck in there too. Okay, I'm gonna fill that in with the same grade. Well, actually, let's do that with a lighter grey. Just a little bit later. Just so it stands out. So I know that it's a different part of the body. Are you gonna label that head next? I'm gonna do the limbs. Let's make another layer trace here. I'm also kind of defining the shapes even more from me. Did the lines. You can see that I want a little bit more of an angle on the foot here. Coming out, King. We're gonna do this limb as well. Every time I'm making the selection, I'm holding down the shift key. And what it does is it makes little plus sign appear next, the lasso tool which indicates that I'm adding a selection. Otherwise, if I were to do this, it would just delete these selections I made before and make anyone here. So I don't want that. I'm gonna add to the ones they already have. Okay, Select here. This one. I know there's a ball covering it, but I'm going to do is selected as if it's their full limb. Can this one right here? You those old will keep in that same color used for the head, Phil Corrupt. I'm gonna make this layer under the body because I'm going to do for the tail. And I want the till you can see in the picture of the tail is actually overlapped by the body. So I wanted underneath Select out here. Just make sure that this is all covered here. And when I can do later, I'm getting the general shape. But I can always cut into this later for the kind of pushiness the tail has. That'll do. That's actually a little bit darker than this, because I'm kind of showing that is behind it. Okay. With any selection, by the way, can hit control or Apple D, and it will take your selection officer. Then you can resume the rest of the image. So what I'm gonna do you now is start outings from rendering still in black and white at first. So I'm gonna take that body layer at a layer on top of it, right click that we're here and create clipping mask. What I'm doing is I'm gonna I drop her that create waas batik. I agree. That's a vote half way down from that as our dark color. Then I'm using a soft brush. About 50% of Cassidy brush with this big because I wanted to be soft and just come in. Start one drink we're gonna have is this course shadow is gonna be a little darker. And I want some of the create here the balance light to come back on the bottom here. I know where this is. Kind of the beginning of the painting phase. Really? When you do here, no one these legs layers, which I've got toe label. You can make one above that. Another clipping mask. I'm going to take the gray of the body and actually paint here so it actually cannot blends in with the body a little better steam here, pass me a little of and here I know that this leg is behind. I'm actually gonna go pretty dark, the rendering there here that we can start adding, making another clipping mask clear in front of that and distorting to add some to mention here. Well, these parts way we have it now too late is actually coming from this way. But as I'm drawing it, I kind of noticed that it's actually coming from the other direction. So as this is decision, I would make as and drawing and saying, Well, it's actually take off that shading on that side and make your words warning this side. So then what? We can dio It's come back in, make sure this is really defined. Like another layer. It's still masked underneath the legs layer in the city, the light side. What I'm gonna do is I noticed this hard line here. That's because that's the selection I made. So I'm gonna go to the root layer with the legs, take this gray, and actually paint directly into that. And what that's going to do is start to blend it there. Is it already there? Okay, now we're so in our legs. Later, we noticed that this part is coming up a little bit above, so it's gonna show a little more light. This is a phase where you're paying particular attention. Toe overlaps as well. So I wanted this leg to be a little lighter than the body vote behind it. So if we went back to her body layer, do a little bit of a light side come back with that grade. It's almost like airbrushing is casually back and forth, okay? And then I can go to the head, make that clipping mask again. I'm gonna take what I'm doing. No, let's take the kind of greed that was on the body. But since I know that the heads already separated, I'm gonna pay attention for the plains of the head and start rendering that way. So I know that it's got a little over a necessity. And it was gonna be a course shadow here, coming down dark. It's partner. Probably be behind the here, right here. And also underneath where the neck hits. You might see a little reflected light here so I can take that. Just add a little bit to the neck what this is. It's not as bright clearly as the the direction of the light's hitting. But it's just little dimension because going to show how the form wraps around actually catches any reflected light on the other side of the surface. Okay, we can do another earlier and start adding the the lighter side here, which is where the lights actually hitting following my drawing here. Years here, this is the side. It's gonna be the lightest let's see then, as they do a general late shape, I do have to come back in carving on. I know that, for example, the eyes here it's a little darker. Syria is gonna be a little more shadowing again with the eyes carved out. I know there's gonna be some reflectively right here, and this is gonna be a smaller brush so you can define with headsets. It's gonna be dark herder. It's still hard brush for the health. Hey, clear about that for the tongue, which will be pretty light. Well, so I want a little bit of shadow in there. So I can go back to the soft brush is this is where the Italy underneath, with its mouth is hitting. Okay. And then what? I wanted to going from general to specific. So big toe lard. It could be very big to small. I'm gonna make earlier just for the eyes card those out, Do both of them now I'm making them larger than they appear. But I also want to exaggerate some futures and make it a little more opportunity Doing a little light here. Some shade here. Top made that selection. What I can do is hit a clipping mask within the eyes. And because circle with the elliptical marquee tool, let's say that the size of pretty dark killed them with nearly black shapes making him and see I can go. Its large is they want. And it won't escape the confines of the shape I've already to find for the I because of the clipping mask. Okay, I want to duplicate that and move it here on the other side. And then you can start getting smaller and smaller details after that recent pool here can start making hard brush pretty low pastie and start doing some of the for. Follow this. Each little shapes. Both sides. Since we're gonna follow the form the body head, same thing here on the body, kind of doing it where the shadow hits as well isn't here. And when it can do to check See, Energis that I missed where the knows would be here. So what I want to do is go back on the head layer, make a layer of here, and I'm using this color. I'm just kind of defining where the head suffers from the year here. And then I want to do the nose as well. It's been in use the selection tool for that. That's gonna be pretty dark as well. Turn off that layer again. I could see a little more definition now. Okay, then that can do is go in, keep making layers on top. These are all still in clipping masks, though. And going with a hard brush start to finding those areas that maybe weren't to find as much before it's higher. Yeah, here, just kind of doing some fine tuning here. Some of these elements going a layer above the eyes that is in a clipping mask. So what I wanna do is take it out of here, but on very top, and I want it to be really, really dark. It's just kind of like the I lines, eyelids, a little bit of a harder edge. And this what I'm doing is just going back and forth and just checking the Imagine seeing what details I might want to still add. Wherever I see them, the cure. I can add the separation of toes which, if you don't see that much in the image, but I'm gonna add a little more exaggerated form of it. And then this part here one shows behind. We're definition here in the bottom. Here's well here, coming in this a little bit more. It's lots of your arable line, kind of softening it up with this after brush, you can go back into the eyes on that a little bit. Well, there take a pure white in a hard brush and had this little affliction. That's more definition to the news. And what I did for this is since the nose was a clipping mask, I actually made a selection of it building down ALD and clicking on the layer itself. No, I know it selected. I'm gonna do a soft brush again. Make sure you get the lighter side of the nose. I went like a little highlight. Yeah, and pretty much This torque is black. I'm also gonna add the nostrils. And, like, a tad, it reflected light down here. Here and cut in that a little bit. Make you push here. Notice maybe the shape I want to read it. Find some, actually, just erasing a little bit of it. Clicking come in, start rendering that side. Absolutely. But I'm still going to see that it's behind the body here. We can too, is at that ball back in. So I'm putting it up here, so I know it overlaps making another circle of the marquee tool. Fill it in pretty dark. Make sure that it looks like it's holding it. We could render that is long. Let's make it a little later. They're So now we know that it's gonna be defined darker side something. Your core shadow reflected light here and the light side Usually I light in the middle. I think this one has specific details. Like a basketball so you can do is make one more layer on top of daddy than do some really dark lines for detail. Okay, so then we can actually take off, induce me layer above the background into a fill and just white they're ago that we can see the image. And this is where it would about where I would stop it at this point before we go into color. This should give you about all you need right now and then in the next. He's also you had add color and further detail to the image so we can get to a finish. So I'll see you next video. Thanks. 5. Lesson 4 - Color, rendering, and Details: okay for last phase here were to get into the coloring and adding the final details to our picture. So would have done is since the last video. I just added a little bit more detail, toothy pause here. And I also blended the neck a little bit more just to fit in with the body. So it looked a bit like it fits together. And what we're going to do now is select our layers that we had when I do is hit the control. But we have a little marquee that appears, for example, in the head here and good Go at the top of our clipping mask. Hit the folder button down here, which makes a group. Okay. And then from in that group, I'm making a clicking at layer mask. What that does is takes this election I made and puts it all within a mask in this folder, and everything I paint in there will remain inside. So what I'm going to do is when I hit on add new layer from that group, it automatically puts it below. You can see it's indented, so it's actually below this folder. Now when I paint and I'm gonna sit that, um this masked to on the scroll down here, Teoh color. And what this does? It retains those values that we created before. And I'm noticing that if I took an eye dropper of the dog here, it's pretty much a great way. But I kind of like it making more cream colored, a little more eggshell white, more yellow. So I'm gonna crabs that it. Okay. And then set this to 100% and see, when I start painting on it, it automatically covers that area. Now I'm I want more of the tone, so I'm gonna hit it more yellow, make it really more kind of a golden retriever color. I want to do the same now, the same series of steps for the body. It's like that the group go in there and make sure have it to color again. Start painting on this layer with these limbs in the legs she d select and start painting. So what this does here and see this part? It's actually underneath. What this does here is creates just kind of a base color where I still understand my values are and what I would typically do at this point is then go back, make a layer on top for more of the true color that I wanted the painting. So what I'm gonna do is kind of using this yellow, but kind of like it more. It was somewhere in this range. Nice. Cannot warn Jello. Yeah, see? Like that color tried to think is a little more a little nicer. What I'm gonna do is select all our elements one by one, as we did before. So, for example, I'm gonna hit the body. It's like that. Go back to up to this top layer. I'm gonna name this topple here. Um, just call it Pete. Okay, Now I'm taking that kind of nicer color. I liked here, sitting the capacity down to say 30%. We're gonna comment over here. And, Pete, all of this come in there as we did before. We're going back and forth, back and forth as we see fit. So I notice here, I want to go back into that course, shadow a little more and add some color to it. Maybe kind of a cooler red here and here. That reflected late. That's a back here They're very under the neck museum in here. It's gonna be pretty dark. Pretty proud. Hey, painting that where this is all in shadow, Go back in and add, you know, hard brush. Have some more of that for Come back in. You can't pretty small and just coming back in painting the for in the direction of the form. I'm doing it at areas where the core shadow is hitting. Come back in here. It's the areas of color I messed. Make your we can do is to make sure that we're staying within the lines. We can just left each of our parts, have the legs here you can paint over there for what I had before, especially areas here where I feel like it's getting a little muddy. Hope, tighten up the elements. Remember this. We know that this area is still lighter because it's coming forward towards us. We still want to have that court shadow in there. Cast late. It gets darker. Get the head now, using that same pain layer up here. See him kind of painting over those eyes in there in areas like that. But I'm still aware of where everything is The beauty of this is that you can just keep making players on top of layers to go on top of elements that you've created. So I'm gonna make a layer on top of this one. We're gonna get a little tighter with details again. I want kind of a dark area. Dark red. Re select that mouth. Start painting that in from the top down. I'm gonna come in here into their anything. This is defining that clean here, his head here, the Turk area. But with the year getting some of that for again, bring it back in again, defining some of the lines on the edges. And you can see here if I look back, I think some of the for the on the years is it follows a shape, but it's pretty fuzzy to see what it can do is follow that shape. I have income that come in and add these little strands. Put the capacity up a little higher. Those little strands of different values coming here. Some of the strands coming into the darker areas as well here, it's kind of flipping up a little bit in the wind on here. Come back in. This is one of the darker areas of the head, right above thighs like that with problems would normally hit. Use this really dark part here. Start to find that redefining that I again come back in with that I laid there. You wanted the nose. Next, make sure to finding that plane. You can always go back in a race lines that you've made. Sure this is still later on top. We have a little highlight on a pretty park area where the nostrils are. I can even have some reflected light from this for bottom there and on the top, I want some related for. So I would go in there and just come into the parts that are gonna have a little bit of light hitting him pretty light it here because this is gonna be there is to get some of the most light on the petty and the head and the body. And here on the top of the nose bottom part of the eyes. What I'm doing here. I noticed, too. That can Amethi area of the knows a little large so it can come back in and actually cut into a little bit like this, and I want to go back into the shape ahead of the head and use the eraser on them back on the original part of the head. And what it can do is that it'll just cut down into it. Actually, while I'm doing that, I can start cutting into the year a little bit, so it makes it look like it has some for details come back in kind of doing a back and forth between rendering. So I'm going light side, dark side, alternating a little bit as I see fit. And every detail you add does add a little one dimension like that. It's like you're even kind of want to make it look more obvious that this is a part that's turning in dimension and there's not facing the late having a for okay, we'll move on to the tail, and what I'd like to do is just do a continue on this leader that we haven't top and go at 100% opacity, and I'd like to take this color but kind of hit on top to kind of redefined that form a little bit from the shape right in there directly using more than shape language. Three a little bit, some strands. When we can dio selective, let's make sure all the elements air filled in. If I select it, then they can start doing a softer rendering. It's transition these areas a little better you see in the till, but that's kind of this area here. It's a little bit of a dark side, and so does the area underneath body. It's like I'm sure that we see what we're doing here. It's almost the lion's tail. In a way. Make sure that shows it is turning the form reflecting late. Still, then add some texture in food. And then some of that light said that we saw over here that kind of come into the till security. Then just know we're seeing areas that I can add to it here. But here on top, these are all areas that hit the light a little more prominently. You can start to close up some of these shapes, so I feel a little better about them and here, really to find this area little born. I'm doing this to see and really define with limbs air coming out from the body cannot. Some for two here. This needs a little darker area under the call some for parts. Here I see some areas here. You can add it, See the tongue for that one. I can just go in and select it directly. It's kind of this paint color, but it starts out pretty dark and then gets later. We can do the shadow part. It's come out like that hit slider part on edge, a soft brush Looks like there's a little bit of highlight from the edges. Here, here, here, and then this part. Make sure that I'm not cutting too much into Utah already. Paint this out here and then I want to get this part more defined on the mouth. Here it goes like this, and it comes below. This part should actually be and shadow altogether. Kind of like this color here to a little bit of an orangish red. I'm going to see if I just bring some of that into the years I'm doing is just a big block of color. And then I'm gonna go back in and start to render it around with softer brush. Come back in that these elements air for over it. Just something on the left side. I mean, it's very well, his left or right actually see little instances of color that we can bring into here, too. This little touches of color. There's someone that this is 50% capacity just going back in little areas that can touch up Mr Cole, which this one I'm just gonna use as the layer I created before. Because it has this part here that as the seams when I make them pretty dark and then go back in to the Lear below kind of take this watch here, which is a little bit of blue. I'm just gonna paint directly. Make sure you were selected Paint directly over that. Sure. We're keeping that light on dark side. It's a dark side with the core shadow. Never reflected light again. Okay, We can do a little bit. Can do is go all the way back to the bottom. Here, above this weight space. Like a layer there. We could just add a little shadow. Well, I like to do have kind of this red. Get deep red. He's a pretty soft brush making small. Let's put it pretty high, and I'm just gonna hate like this Make this block. What I can do is coming with your racer with the south brush and sort of go back down again to set this layer to multiply like a little lighter, some heating control end which will bring up curves. And I'm gonna drill from the middle here and just kind of carving back it to it. And I'd like it maybe just a little too saturated, so I hit control. You going to the saturation is later. Bring your town and they just had a little bit of that here, and that's about it. So what you do is take your interpretation of your reference and make a painting from sketch to finish and feel free to show me any and all of your progress or even if you need some help finding some reference material. One school share and I look forward to seeing your projects. Thanks for joining me