Learn How to Paint in Photoshop | Brandon Whelan | Skillshare

Learn How to Paint in Photoshop

Brandon Whelan, Artist & Designer

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14 Lessons (1h 57m)
    • 1. Welcome

    • 2. Tablets

    • 3. Setting Up a Photoshop Document

    • 4. Photoshop Tools

    • 5. Blending

    • 6. Rulers and Guides

    • 7. Effects / Adjustments

    • 8. Flip Your Canvas

    • 9. Perspective Grid Tip

    • 10. Adding Color to Black & White Painting

    • 11. Thumbnails - Concept Development and Practicing

    • 12. Export Painting for Print and Web

    • 13. My Painting Process

    • 14. Assignment

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About This Class

Hello, artist. This class is about digital painting in Photoshop. This class is for artist and Photoshop users that are new to digital painting. It’s also for digital artist looking to learn a few tips to help improve their workflow and art. We’ll learn about tablets, Photoshop's tools, how to paint and blend colors, special effects, and much more. Come join me (Brandon) in this laid back class where we don’t take ourselves too seriously but have a huge passion for art and all things beautiful. Let’s learn something cool and create something amazing.  :)  Enroll Today


1. Welcome: okay. Oh, go. Glad you could make it. Um, so I was just looking around and thinking, Why not make a class line? Digitally painting. Sculpture is always sending me these crazy emails all the time saying I can teach in, but you know, anybody could be a teacher. Well, I don't think they've ever met me because I can barely hold off Senate's without getting distracted. This class is on digital painting. I wanted to make a class on digital painting because money No, because I want to help you guys out and let you guys discover this this whole new medium of art. If you're an artist and you haven't given digital painting a shot, I don't know, I really think I think you should. You should give it a shot because you're depriving the world of your talents by not seeing by, not a dame car Broken car. You allowed us putting our on national painting. It's It's a great new medium of art. You can have all the different colors in the world at your disposal without running into the nearest hobby lobby to pick up. It's a new white paint cash. I'm always running out of white paint. This is one of many benefits that I love about digital painting. So passage about dissipated. I'm not that good at it. I'm not gonna pretend like I'm the best artist in the world here. But I feel like I can teach just the basics of what digitally painting is and how to get started. If you're new to the idea, come join me. Come on, get in here. Get in this class, be a part of the community, learned something, maybe learn nothing and just teach me something new because I'm always learning. I'm trying to figure this this thing out, but I got a few techniques on on what you can do just starting out in digitally painting. So just setting up a photo shop documented learning how to blend colors, using layers, using special effects to make your art pop. And just basic photo shop 101 kind of techniques for digital painters. We're just gonna have fun. And I'm gonna try to teach you something along, That's all. We're going to stay here in the beginning. That's I've been you know, I'm like, out of breath, man. It's your God Dag book Will you shut up? I'm not that important. Never get text now. What? That I'm recorded now I'm getting so money for context. OK, so, um I don't know what it's saying. All right to in the class will be you like it. 2. Tablets: Hey, guys, Thanks for sticking around and, you know, given me a shot with this whole teaching thing. We're in for a rollercoaster ride, I think. Okay, so we're gonna talk about this habits to start off because tablets is what makes digital painting possible. Without a tablet, it's It's gonna be really hard because mice, mice, mice is my mouse. A mouse can not, Perhaps your pressure sensitivity. Here, use a tablet. Here's your stylist pen. You draw and you know lines appear, and the harder you press, different variations can happen. Line wait. The harder you press, the thicker the line weight will be. But if you if you try to do that with a mouse, it's all gonna be the same. The same with the same thing with the amount of pigment in the strokes. So the lighter oppress, the more oven opacity that I have and the harder oppressed, the more opaque. All these different settings can be played around with in photo shop so that you can set it to to your personal style in preference for whatever you're painting. What kind of tablet should you get? Basically, whatever your budget allows for at the same time, whatever your passion calls for. So if you're really wanting to get into this, you know, and you have the budget, then you don't get go for a sin teak. But if you don't have the budget and you're kind of on the fence of whether or not you want to try digital painting go for something cheaper than this, this is a welcome into us pro medium. And this this is pretty good for what I need. Definitely go with a cheaper one to start off. It does give the same kind of experience that something like this, but a cheaper one would be just that. Your what's a college welcome. And toast. I think without the probe at the end, I think you can get one of those, uh, get a small. I would get a small for maybe less than 100 bucks. If not 100 bucks. It can't be that much. Um, and those workout really good. That that's what I recommend. One thing I want to match before we go to on to the next portion of this might be wondering , actually, how How does this actually work? How does how does the pin. No win to make a mark. And how do I move my mouse cursor without making marks? Well, it's very simple, actually. It just the tablet knows when the pins near it. So you use you just hover around and that will move the mouse so you can move from different sections of your painting without, like, painting all over it. And then when you actually press, that's when it makes a mark. When I didn't have a tablet and I didn't understand digital painting, that was kind of my question. Well, how does it How does it know? And yeah, it's basically you hover and then you press when you put it. It's very simple, very intuitive. It's just dealing with photo shop and getting used to all their tools and no one woods all out there could be the trickier part, which is what I'm here, and we're gonna get into more of that in the next portion of this class, so stick around 3. Setting Up a Photoshop Document: All right, guys. Hey, how's it going? Welcome back. Uh, so we're gonna dive into photo shop, So let's pretend that you went to Adobe. You downloaded photo shop. You got it all installed, and this is the first time you're opening it. Let's let's OK, let's get into this. This is this is what it looks like when you open it up. This is the current newest version, Photoshopped CC 2015 point 20 million. I don't know what what they got going on right now, but yeah, it's all basically the same because basically on every version we're gonna goto file. No, because we want to start a new painting. Um, Now, this is where it can get complicated, and I will drop my best is not complicate. I'm just gonna make it more complicated than it has to be because because that's just how my mind works. But let me let me just try to keep a symbol. Just keep it simple. Keep it simple. Stupid. Yeah. Name. Don't worry about it. I don't ever touch it, you know, way. Name it once. Once we decide we want to keep it. So right now we're just don't worry about the name. Okay, Document type. Um, you got a few selections here, but I don't concern myself too much with it. But if you want US papers, a good, good place to start. If you have no idea about, like, pixels and all that, what's good about paper is because it's it's an actual sheet of paper and it's set to a very high resolution. Well, for my computer is very high because he could barely handle 300 dp I, which is which is okay by May, because I don't print most of my artwork. But if you do want to print your artwork and if you want to print in at 8.5 by 11 document type US paper, There you go if you want it. 11 by 17 just 11 by 17 and keep your resolution at 300 so that it prints well because that is the standard resolution size for printing. Like I said, this can slow down your computer a little bit. Um, and it could be hard and frustrating to draw when your computer slow, unless you're probably on a Mac or a better computer than mine. But we're gonna keep it at Web resolution, which is 72 d p. I. And we got to change this two pixels. This is the measurement that computers work in 1000 over 1000 is a good one to start. If you mean any bigger than that. Ah, you can certainly crop it once we get into the document living. Let's just go ahead and open this size because I actually let's just let's do it standard 900 by 1600. And okay, so this is what we're working with here and what I like about, um, working for screens the web is the size that you see is the size that you get when you're working for a print. You gotta actually view the document size to make sure that you're working on the correct size. But this, you know, if we so down here down here at this corner, this is our percent. That word zoomed in to, um right now we're at 50% and then I consume and again with the control plus, or if you're you know, if you're on Apple, convert that whatever the control is, it's like Apple plus Option plus command whatever it is, You guys know you guys are smart, right? I'm not that smart, so I don't know. OK, so and then this is what 100% looks like this is This is how big it will actually be. And for May, I don't care for this us. So we're gonna hit C on your keyboard to change the size. Am I going too fast? I'm sorry, guys, but this is the basic stuff. But if you're new to it might not be so basic. So I should probably slow down just a little bit. I'm sorry. Okay. So, see, remember, we just hit, see for crop, and then we're gonna click on the canvas, and then we can drag these points any direction. We want to size it that way and look in the corner there. It shows us how many pixels are within the heights. That's very handy. Um, let's just go with you know, your a nice little instagram photo, because I liked it's designed for instagram. Um, and they like squares. Currently, they could do more than just square, so that's kind of cool too. But anyways, they like squares. Okay, so we just resized it, and I'm kind of jumping ahead. I'm jumping around a lot because I got a d. D. So I hope you guys can catch up. But let's talk about, uh, the the interface of everything. When you guys open up your photo shop, you probably do not see this kind of set up. So let's go to the set up that you do normally see which is essentials, which it has a bunch of stuff on here that, like libraries who use this libraries. Actually, it's kind of handy, but don't don't worry about that. These a lot of things would see this is the beauty of photo shop is it's got so many things that you can do in it. But when you're digitally painting, you don't have to worry about like half that stuff. That's what makes digitally painting so so inviting for for traditional artists, because it's it tries to keep is much of a traditional feel to it, as it does as it can. Does that make sense? I don't know, but let's go to painting because that's the workflow that I like, and this is not the default painting. So if if you click up here. It just kind of changes your layout. Uhm, and let me just bear with me just a second. Why? While my computer decides what the hell's going on? Okay, I mean, a reset painting. This is what years will probably look like. And for the most part, this is fine. I mean, if if you guys like it, this is fine. This isn't what I want, because what I want is designed for my preferences. Um, and I recommend you, um, finding playing around with your own defense kind of layout to, uh, Teoh fit your own preference so less less fixed this up a bit. And basically So here's a windows thing. Appear Tam, uh, and you click on it and you get all these different little boxes. So this this watches here. This is like a window. So if I went here to channels, a look already got it down here. This is another window. So that's what this whole tab is designed for for these little pop up windows. So let's say I accidentally delete my swatches, and I'm like, Oh, crap, I'm what? My swatches back? Well, here it is, right here. It's no harm done. It's all back. It's all good, But we don't want our swatches, so let's get rid of it. Um, we don't really need channels either, um, or paths. Um, you know, these air all hit in anyways, brush presets. You may want to keep this if you like them at your disposal whenever you want. But for me, um, right clicking. I guess I should mention that with your tablet. Would you tell when you get a tablet? You You have a, um, crap. Any D man just bouncing all over the place? Okay, so let's go to com. When you install your drivers on your tablet, you'll you'll get, like, a properties, um, box that you could mess around with, Um and it's got all kinds of different functionalities and settings that you can get in here and play with. I'm not gonna go too deep into this, but just to give you an overview like you can change how, how hard you want to press this tip field to firm. You gotta press really hard in order it to get to its maximum maximum pressure sensitivity . And then, if you're soft, all you gotta be is very light, and it gets all way up there. I just keep mind at the default because you know, im average is the average. Um, So, yeah, you got other things, and this is right here. As I was saying, you can change these little hot keys on your here, right here. I got them both set to right click because I don't want this either one of these buttons accidentally impressing them and doing something else I don't want him to, but you guys can experiment with what you want there. Then you also get your function keys. But I don't ever use them because, um, I'm a keyboard gun. Kind of old fashioned like that. I like to keep one hand on the keyboard and on hand with stylist. So that's just a basic overview and back to our brushes. Um, so I don't need this because right click, when you're on the brush tool gives you all those options as well. Um, and if you're looking at this and think it Oh, he's God, he's got a bunch of different stuff going on on on here than what's on my well. Ah, that's because I've downloaded a few brushes and you can find brushes all all online. Just Google photo shop painting brushes or or charcoal brushes are or what not, But basically, we're not gonna go too far into the brushes for this. Were unless I'm gonna try to stick to Ah, the basic hard and soft brush. Um, just so that we're all on the same playing field. Got to get back on focus. So Windows windows. Okay, well, I'm not gonna use the brush presets. Navigator. I like Navigator. Not for navigating, which you? You certainly do. Just drag it around, Um, as you please. But I like it for its size. It's relatively small. It shows me exactly what's on my canvas at a smaller size. And basically, I can see my my painting as a phone now. And if it can read as a thumb now, then that means I'm doing a good job. That's just the thing, right? If you can read it from a far distance, you can read it up close and your concepts working basically. So I know when I look at that navigator and I can see what's going on, I'm in the right direction. So I like toe have that up all the time. So, as you see, I just dragged that window out and you can place those in between or under other elements, so you can see where this blue line pops up where it wants to snap. I like my navigator here on the left side, right by my tools. But you guys can keep it over here on the right if you want, but I like it here on the left because I like to have my layers all on its own section. All right, so we are missing one other thing that I like to keep up at all times, and that is my color. So we're gonna go here to our window, and we're going to click on color. And there it is. It put it right there next beside my navigator, which I do not like. Um, so I'm gonna have it below it, and then I'm going to just drag it up by cooking here in the middle just a bit, and then we're gonna gonna pull it out just a little bit too. So now I have all this color. If by any chance that it did not, papa best the huge Hugh. Maybe it it did pop up as your HSB, which is your hue, saturation and brightness, which this this works to you. You do have this little drop down menu for a different, um, layout of of ways that you want to choose your colors if you'd rather have your, uh, red, green blue layout, which, I don't know, some missed. It doesn't make sense. Me so great, scales. All right, though. Basic, maybe. No, actually, Hugh Cube, all the way. I like I like this. It makes it simple because you have all your colors here on the right, all your different hues and then at the top is your brightness Up and down, your brighter you are down your darker and then left to right The less saturated and then on the left The less saturated and on the right The more saturated is It's just This is the most convenient way, Teoh to mess with the color. I think 4. Photoshop Tools: Well, so let's get started with those. Here's your toolbar. Um, and as I mentioned before, you can get Teoh that Let's stay. You accidentally delete this, you got a window, and then you go to tools, which is right down here at the bottom, and you can change the different layout, but I just keep it at at this straight here on the left. So this is your your move, tool? Um, so oh, so 80 D kicking in. Let me describe layers for a second. This is our background layer. It's the default layer. It usually comes locked. But if you just double click on it, which when you open it up, it'll work. When you double click on it and unlock it, Um, and then you can draw all on it. But don't draw on the back background layer draw on a new layer. That way, you don't have a white background. Um, so now I can draw on this new layer, and I can get rid of it as I please. And I can also use the move tool to move it around. So isn't that neat? Now, if I want him do another layer, you see how I can keep these layers separate, which is pretty neat in the background layers. Another one. Um, if you're wondering what the's this checkered pattern main, that means it's a transparent background. There's nothing behind it. The Marquis toe last so told you these things you don't really use a lot when you're digitally painting, but you can if if you're that advanced. But you don't need to, because this is getting more into the fund digital side of digitally painting and treating it less of a traditional, which, if you're new to this, you may not be ready for, um, but so I'll just do a quick overview of a marquee. Um, tool is basically, if you hold down on it, you can change it to a lips as well, but we'll keep it as rectangle. You draw your rectangle on and then you switch to move, and then basically whatever layer you're on, said someone the green layer, I could move a chunk of that around, so let's say that you had a face that you had drawn. You just bear with me here for ST Let's say that this was my face and that I is just terrible. I need to move it up a bit. I need to move those eyes closer, actually, not need to move them down. So what I'm gonna do is select those and then hit V V is our hot key for our move tool. And then we're gonna just use the arrow keys to go down a bit. Or I could just use the move tool. And let's say that that looks so much better at that position. And there we go. Now we're stuck with, like, these marching ants right here. How do we get rid of that? Um, control de or whatever it is on, Mac, You guys got it. And then you got this white gap, which, if you're digitally painting, you know how to get rid of that. There. Now, he looks so much better with that placement. So that that may be one situation where you want to use the marquee tool. Um, and I think I think I used the last told it, but that s so basically the same concept crap. Sorry. Sorry, guys. That was the lasso tool. That was with the hot key. L um And if you guys ever forget you can just hover over them and you can see that that popped up. L Marquis is an M move. Toll is a V. I know so, but V is yet, but with last. So it's pretty much the same thing as your your rectangular marquis. It's just you can draw whatever instead of just keeping it as a circle or square. And yeah, that's how some people ended up like in photo shop. They take a picture of a person and move it into a different environment or something. That's that's that's how it's done. That is basically better the pin close. But we're not gonna get into that. Something else that I'm going to throw in here about the mark Eat and lasso tool is that using these methods of selection is a great way for controlling exactly where you want to place color so I can use this marquee tool on a new layer. So grab our brush tool here real quick and draw around it, and you can see how it creates a nice sharp edge there on at the top. There, the at the marquee. So this this really comes in handy for for actually for a lot of your digital paintings. So let's say that I wanted a complete circle and I wanted to add, you know, a little bit of, ah highlight here on the edge without blending. So if I if I just did like that without the Marquis, then it's going outside the edges. But if I had that selection, I can do it like that. So that's another Ah, good little method for using these selections tools. And you can also, you know, draw your own, obviously and then control where you want those colors to be. Okay, so and then you cut another method of selecting This is all like these three tools are just waste toe to select things that that aren't a part of its own layer that you need to separate it from. Does that make sense? I have no idea if that even makes sense. But anyway, so here's the quick selection tool, and then you you do that and you can move the whole piece that way. As you can see, I'm working on the same layer is the green layer. So I couldn't do that if I just was trying to move the layer on its own. I hope that made since I feel like I'm all over the place, So crop tool way already. Ah, learned that, didn't we? I think we did. Ah, but that Yeah, You guys know how to use the crop tool already? Just hit C and then drag it around Or didn't. You can just hit that button hit escape to undo what you just did. Um, just in case you want to get rid of that or hit, um, what enter toe? To confirm that size, I drop her. Great tool. You guys know what eyedropper does? Basically click anywhere on the screen. Um, and then you get you get that color over here. Here's green. Oh, I know that. It's that color green. I can switch over to my brush. There we go. Um ah. Hot key. Which is something that I use all the time. I use the eye dropper constantly, but when I have my brush selected, which is be hot key, remember these five Kings people that this is how we, uh we do it? The most important one is all I'm always using. All, um, went the brush tool selected. Remember, With brush tool selected, you hold all you have your eye dropper. And when digitally painting this is more important than you guys may realize at first, because selecting colors is a great way to speed up the process instead of going over here and selecting the right Hughes. Basically, when you have ambient light and all that bounce light and everything, I'm not gonna get too technical and painting, but you use a lot of similar color. So you want to use, um, the eyedropper full. Would you have a good base of colors already on the canvas? That way, you don't have to keep selecting. Okay, um, let's talk about another hot key. Let's take a break from the tools of it because, you know, I got 80 d. I got a bounce have everywhere. I'm done saying I have 80. I'm not bragging about it anymore. All right. So, control, uh, control all Z is an undue You see all those brush strokes starting to disappear. If you want to stay traditional, you can use the eraser tool, or you can paint over it. But if you want to take advantage of the digital world controlled Z is a great way. Teoh, do some a news. But I made a mistake Control z gone. And that basically uses your history and just keeps going back in time to a different point . So you can use this and go that way. So are they ever used this? But it does have its advantages. Oh, I got all my brushes out here, as you can see, Like here with the Marquis. If I hold down, it has got these in here. But usually I'll find these brushes underneath my my brush tool, which is weird that they're all below that, but oh, well, s. So if you guys don't see these brushes, the pencil tool, the mixer tool and everything. Um, check your brush tool and hold on it and you might see that mixer tool. OK, so it's a new tool that allows you to mix colors, which we'll get more into later. But basically, yeah, it it helps when blend colors together, which you can really do with the brush tool. So but if you want to to get into that, that's not a bad tool. Stamp tool. Radiant. Okay, I'm going to skip a few because they're not too important for a digitally painting. Um, but your eraser, Seoul, right here. Standard stuff, Grady. In great great tool. Right here. You can use it to make radiance as such, which is a transition of one color to the next. And if you go up here to the top in this box here, you just click on it. You can change using these default presets or your own. You can change the transparency of one color and the colors and queues themselves. So let's just click on this red and green, because why not? Beautiful, Right? So now that I got the red and green selected, which actually my transparency on both of them were pretty low and that is because I have some weird stuff going on appear Okay, my opacity was set toe 50 46. So I just moved that up so you can change the different opacity of these. But there you go. Look, that's that's Ah, that's what the Grady and Tool does which a lot of times the most a useful way that I use it is I like to have a transparency on one end. That way, I can use it as more of a shadow kind of Grady in or Vignette. Maybe if I If I decide to go that route on it, painting eso, that's your ah, linear Grady. And I think it's what is called Yeah, and then you have your radio radiant, which is just like a circular one on, and you can change the opacity if you think that's too harsh. So you have more subtle effects, and this is this is not an accurate representation of of the power that this tool can use. And so we got a picture of the model Lisa here. And let's say that for some reason there something wrong with this picture, which there's nothing wrong with this picture. It's perfect, but let's just say that this area is a little too bright. So and if we were painting this, we could grab Argh! Radiant tool, Grab our dark. Um, Grady int here. I like to choose this default because it already automatically has the transparency at it to one of the color selections. Um, so we'll grab that. We'll change this opacity up a bit so we can actually see what we're doing. Go to a new layer, so we don't affect it. And then look at that. And that's green. So we don't want that. Uh, let's see. Well, we'll just use one of these shadows, which is kind of reddish, pinkish, purplish, dark, really saturated shadow. So, um, let's try that again. And that's what the radio, uh, radio Grady in, which is very nice. Um, tool. And there you have it. That's what a great and could do much till Ah, they is not a bad tool either. I have not used it in a long time. Uh, because I over used to get up one time, and I was like, This is this is ruining all my paintings, but it does have, um, some some of it benefit. Um, it can help some. I'm sure somewhere, Basically, it it's smudges, things. You can move things around. Um, and it blurs the crap out of women can give, can destroy it. But let's say, like, I needed this shadow right here by her lip to be just a little bit Sudler and kind of going blend in their of it, which it didn't know. It looks bad, but if I wanted Teoh move that around a bit and blur it and destroy it. I can. It's not want to, which I don't That's the That's this much toll. Um, and then the rest of these tools, um, not important this tool, the shape tool will be getting into, um, and some of the benefits that that can do with setting up perspective. But that would be in the later on. But that's a basic overview off the tools. 5. Blending: last section. A lot of a lot of stuff happened, Learned a lot, but I'm gonna try that. Try to keep my cool going forward. We're gonna start, you know, keeping it simple. Try to learn one thing at a time. And this one we're gonna learn about blending. And I said one thing, but I'm already going to get several. And these tools up here, we're gonna be using our brush tool because that's the most important tool that will ever use in digital painting. And then, uh, we're gonna blend two colors. Let's go ahead and let's go ahead and get some color. So ships a little bit of fun here. Um, so let's grab us a nice blue and an orange. All right, Now we're gonna blend those two because essentially, this is what separates the mouse from the tablet. This is because weaken, blend, and in order to the pain, you you must be able to know how to do this. So let's let's get into that in order to get into that less let's cover some of these tools up here at the top. First, opacity, uh, might be self explanatory, but let's go into it Basically, at 100% you can get a full opaque color, and this is messing with just your brush strokes. So if I want to go to 61% for some reason, um, I'm gonna apply some paint at the fullest pressure like I'm person down really hard, and you can see that that's not same color because there's there's some transparency in there. Now remember, that's just with the brush brush strokes. We also got opacity settings for here, and that controls the layer. Remember, this is this is everything on that layer so we can control the oppo capacity there as well . Well, let's just turn that back up to 100%. We're gonna turn this up 200%. All right, so I think we got opacity down. Let's go to flow. So flow is ah, a little different at 16% here, Um, it is Thea amount of pigment that's applied, uh, with each pass that you go at it and I don't think that makes sense. So let me just show you. So I go one pass at 16%. I go another pest and I go over and over and over and over, and it gets more and more opaque over over the amount of passes that I gave it. So with opacity, let's let's try to do that with opacity. At 16% are you? 12%. I go over it over, over, over, over, over, and it stays one one color, one of Bab opaqueness. Um, it's only until I lift my pin up and then go over it again that another layer is being formed. So and you get more and more advance at digitally painting. You'll play around with these settings and determine what's best for you and your particular style of painting. Levin continue onward with some more these tools, so this tool uses your pressure sensitivity to determine the opacity. So if I go, if I press really light, it's very light. And if I press really hard, I don't even have to lift up. Um, it gets more opaque. So, like that light duck soft heart airbrush is kind of like an airbrush. If if you airbrush over a T shirt or what remaining design, the more you hold it in one spot, the more saturate is gonna get over time. So time is is our main factor here with the Arab rush. You see how it's building up with without me even changing my pressure at all on the cilice ? Um, that's what airbrushing is. So stay in one spot more, It builds and builds. So that's airbrush. Change us back to our hard brush. And this one is the size of based on your pressure so lightly you get a soft or thin line weight and then hard. You get a hard line. I can see that there. Okay, so now we got the basics of those tools down. So let's get into blending. I'm gonna just turn on this one here, which is controlling my opacity and bring my brush down. I'm still using Ah, hard brush. And if you right click, you can get your brush A list of your brushes here and you can change the hardness of our brush. So the softer it iss, the less, um the smoother the edges are, and, quite frankly, the easier it is to blend. But sometimes that looks a little too blurry. I'm just gonna keep it at 100 just to show that it is possible to blend with hard edges and yeah, so let's begin this. This is how you blend in photo shop. Well, this is one way to blend in voter shop. So we start with our bowling, and we're gonna just lightly, you know, we're using our pressure sensitivity here, so we're gonna lightly go to the middle. We're gonna gonna do that a few times. And they were gonna do the same thing with the yellow. We're gonna We're gonna hit all to sample the yellow. Then we're gonna lightly pull that in to the mill. We're gonna do that again and again. Again. OK, so then once we get a color in the middle, we're gonna select that color now and then. Kind of blend that into the edges as well. So it's It's a pretty much just I dropping your colors and then pushing them into the colors around them. Does that make sense? I hope that makes sense for me. It's really basic, But maybe it doesn't make that much sense. So anything that I can say toe so it does make more sense. Some taking the blue eyed, dropping it, bringing it into the middle lightly. And I'm a drop in just over and over again. I drop add some pigment. I dropped the in between, adds mink. I dropped this color here in between. Then push that back. Same thing for the yellow. Now here in the middle, it's sometimes when you have a Grady it from one extreme to another. It does get kind of gray, so I like Teoh, especially with skin tones. Is ADM or saturation there in the middle? Because usually with skin, your lighter color is less saturated in your darker colors. It's less saturated in that, and then the in between is where the most saturation is, so you can always add more color on. Blend that as well, and that makes four an interesting makes it a little bit more interesting. And that's what the hard brush if you, uh, Photoshopped does have some default rushes. They do have, like, I think, a charcoal brush. This might be one of their brushes. I can't remember if I downloaded this or not, and that's just another way to, uh, too bland as well. That way you can have more of a chart Coe, uh, texture, and that's that's blending, folks. Now there is another method. Um, it's Ah, and there's a newer method with, um with the photo shop. See, See, I think this is a new tool, and it's the mixer brush, which is this This button right here, this one right here, which could be embed it in the brush one like I mentioned earlier. So if you don't see it right here, click and hold on your brush tool and it might pop out and then you'll see it there. And basically, what that does is you can you can smooth out the edges a little bit more by just, um, doing it like so So instead of constantly using the brush tool, Teoh too bland and then Alton select. You can use this tool Teoh to blend it as well. I just smudge in the edges now. Haven't used this tool a lot, so I don't really understand it too much, but it it definitely does get the job done. I mean, look at that. Let's go ahead and smooth this one up. Like I said, you can definitely do this with the with the brush tool and using the technique that I just showed and with a softer brush it. It does make much smoother, smoother blends. So if I did want to do a smooth one, do this. This. You can see how that makes the blending process a lot a lot easier, but it can make your paintings really blurry, this well and less than fun. Se Yeah, this is good for maybe like skin tones. But if you you can't really get a hard edge with these and in paintings, hard edges and her everywhere, just like soft edges, I think so, that's blending. 6. Rulers and Guides: I guess you still with me? I was going to be doing rulers and gods, and I promise this one's gonna be fairly simple. So to pull up your rulers while to toggle between pulling up your rollers is control are and that that pulls it up so I can see that this is roughly 1000 pixels squat and round six 600. Hike that. That's my rulers. If I right click on that, I can convert it over two inches and see, Um, hey, that's 14 inches by almost nine inches. But if I remember, that's in 72 DPS. Okay, so now let's get into guides. If you click on the ruler area clicking home and then pulled down, it will grab a guide, and you can pull out as many as you need and place those wherever you'd like in order to help your painting. Um, so, for example, a. Say you Instead of drawing your horizon line, you can simply using guide and say, Hey, that's that's where all my, uh, mine's air gonna go towards the only problem. Toe having a guide when drawing is your your brush will want to snap to the guy making it very difficult to draw all around the line. But you can turn that off if you go to view, snap to and then turn, uh, click on guides and that that will turn that off, not snapping to it at all. So if you want to draw with it on, you can do so. But I usually just hide it, and that will deactivate it as well. And to hide it, you hit control H. So control HTA bring it back and hide it. Next trick I want to show you is a easy way to find the rule of thirds. What I mean is, you have probably heard of the rule of thirds. Basically, the idea toe help make your compositions a little bit more interesting, I guess. And that is by dividing up your paper and Teoh thirds and if you want to draw a straight line, hold shift while drawing. But the idea is to put like a character on one of those points or, you know, the main focal point on one of those points, and that that would make it more interesting. And I think it's pretty much just to try to teach you. Hey, don't put your focal points close to the edge. Um, because, yeah, put him on one of these points and don't look really good. But where is the rule of, like, worst, the exact, like points that I mean, I could guess there, and that does OK, but what if I want to be exact in the newer photo shops? Um, they have new guide layer, which is an amazing tool that automatically places guides on here based on how many columns and rows it. And you can identify the gutter and all that as well. But for this one, to find the rule of thirds, all you gotta do is three and three. You can see here's our point, point, point point. You know, I usually if I do it this way, I get rid of these extra lines around the campus because we don't need those. And to get rid of those, you just pull them back to where you autumn. So that's one way to do it. But there is another way that I like to do it as well. And that is, if you hit the crop key, which is C and then you click on it. Look at that. It automatically tells you where the rule of thirds is based on where you're cropping. So if I wanted Teoh change, I can see Oh, this is where my new rule, uh, point would be, which is really handy. But I just pull it up briefly, and then I draw a lot out onto those points. So that's another easy way, Teoh handle that. All right, so that's just a little quick tip there, Uh, and maybe to come in handy for you. 7. Effects / Adjustments: Alright, guys, let's get into some of the effects and filters that that we can do. And before we get started, I want to mention not Teoh. Be too overwhelmed about all the different possibilities with the special effects. Because there are limitless amount of things that you can learn from this. And it's it's really just the icing on top of the cake and not to get too carried away with some of these things and not to stress out about basically, get down the fundamentals first of just drawing and blending. And you can slowly start to experiment with one of these, uh, maybe one at a time, so that you understand so. But let's get into some of the effects and the effects could be handled two different ways , destructively or non destructively. Um, what I mean is, basically, if I go to image adjustments here, we got all these different types of ways that we can edit our image. Um, so Hughes and saturation, we can change the colors. The Hughes we can change saturation toe more saturated, saturated and the brightness. Now, if I hit OK, that image has been modified. I could undo it if I hit control Z But let's say that I didn't hit control Z and I went ahead and like, drew on it for a little bit more and decided, Hey, I really don't like how much brightness is in here. Well, that that was a destructive thing that I did, and I can't go back. So I've already drew too much. I my history. I can't go back as far it's destructive, right? And you guys get OK, Good. So to in order to avoid that, pretty much take that effect and it works as its own layer. So here, right here on this. This little icon right here, it's our adjustments. Um, layer thing So And there's like all those different effects that we saw all over here in image adjustments. But they can all be applied as their own layer, so hue and saturation. There you have it. Same dialogue blocks, and I decided, Hey, I don't like that effect. I can turn it off or deleted, and we can even control the opacity of it. Say that that is a nice in effect. But I don't like the strength of that so we can turn the opacity down just a bit and say about you know, 29% 0 that looks a lot better and that's more so, So that's one. That's one of many effects. Um, some of the other common ones that I use is levels, and that's the contrast. Pretty much, um, if you take this is your blacks. This is your mid tones, and then this is your highlights. You can see by the scale of here. I have a lot of black in this painting. It's it's a problem. I know I had paint too dark, but but if I wanted to add more highlights into it, I could take this brightness and bring it up, and you can see that the image is getting brighter. And as before, I say I can change the opacity lower. If I feel like that's too harsh, so it's you can play around with it a lot. That's why I recommend this method because it's works non destructively, and you can always go back by turning the layers on. You can change the Midtown's as well with that and the darkness. Of course, one thing aside mentioned earlier. I have a problem with painting too dark, and I've realized that this tool levels and curves because curves is similar to this, Um, can be addicting because you like, I messed with this midtown a lot, and I usually drag it to the right because I think, oh, that looks really cool because there's more contrast right there like and then I turn it on and off. It was like Look how much bolder that looks. And but then, if I apply that again, if I keep on going Mawr, I'm like, Oh, wow, that's even more bold But then it's like this weird way of just seeing it like this, like as it as it's progressing. It's like That's too dark and I don't even realize it's happening. So just what I'm sent trying to get at is be careful and don't add too much contrast in your paintings. And don't overdo these effects because they can destroy all your hard work. Because if I turn this down all these little raindrops that I've had over here, you can't even see him anymore. See, look at that. They completely disappear. And then, yeah, you start seeing these, uh, images on your different devices. as you share home and you look at it on your phone and you're like, Wow, that contrast I was just too much. Too much, too much. So reading this, um, I think it's called a history Ram, uh, is a good way of seeing how much black you actually got and making sure that is more bounds for me, this was a night scene, so I needed a little bit more black, so it kind of works out, okay. And for the most part, you guys can go in here and I recommend experimenting with this. You can do brightness and contrast in this way as well. Um, and if you don't want to use the levels vibrance, bump of vibrance and saturation, um, color look ups and need one. If it's just a selection of kind of, like filter like film stock, like I might add a bunch of crazy stuff, let me turn this off so you can see exactly what it's doing. So that's that's just a filter. You can scroll through a lot of these, see which one works best for whatever piece you're working on. Poor blue. Look at that. It's pretty. Me all right, So we talked about the adjustment layers. We've talked about controlling the strengths of them with your opacity. Let's learn about the blending modes. I think that's what this is called. I Sorry, guys, I forgot. If that's wrong, that that may be wrong. But, uh, this little drop down menu is like different ways that different elements on that layer because thes they're being applied to this layer. They they affect the way that the color is blended to the layers below it. So let's let's see an example of this. If we go to color Dodge, which is it? Pretty much is a way to brighten up all your different colors, and I'm not gonna go too deep into this because it it really needs its own class. I think, um, but lists what's picking yellow color? No, let's pick our red. Since we got plenty of reds there, let's pick it bright. If we use a soft brush and plow that you can see how it just really brightens up that picture, whereas if it was just normal, it would go on top. But since I have a blending mode on it, specifically color dodge, it kind of it brightens it up like, really harsh to. So try not to get too overwhelmed with this with this effect, because it can destroy your pictures, as you can see. But if you use it right, then you can, uh it can be beneficial. Um, overlay is kind of another one that I use a live which is a little bit less of Theo effect that color Dodge was doing. But it's more saturated and color dodges more kind of a brightness. Uh, I guess screen is it makes things lighter, which this is not a good example of it. It pretty much removes all the black. So if you have, like, a picture of a lens flare, which I have some pictures of some lens players, by the way, So let me grab one. So here's a cheesy little lens flare that I've just dropped in here. We're gonna put this up here. Now I can use blending modes to make this are a part of the scene by using the screen blending mode because it removes all the black Look at that. Isn't that neat? So since that removed all the black, I don't have to worry about making a selection and wasted a bunch of time with that. I'm gonna bring up the Hughes. And saturation is by hitting control you, which is the instead of doing it as an adjustment layer, I'm doing it directly on the layer. Gonna change the hue of it to more of a red color so it can. It matches the scene a little bit more, and I don't like the way I don't like the way that looks at all. But you guys get the idea of what that screen effect is actually doing. That's cool and all. So what is some other things? Uh, we got blending modes, Check adjustment layers. Check. Um, you can combine blending modes and adjustment layer. So back with that vibrance one. If, you know, I could change that blending Moten overlay, and then it does all kinds of weird things. So you're starting to see how all these things would be implemented together? Hopefully, I'm doing my Chuck. If I'm teaching this well enough, then hopefully that's what you guys can see. Um, those air adjustments, Let's go on to filters, which is a list of all kinds of different things but I'm only going to mention the really fun wants really important ones that you probably will be using. And that is the Blur one s. Oh, let's just duplicate this image real quick. Um, if you duplicate, you're gonna hit control J the layer that you're on and that duplicates it. So we got two of these now, Now I am going Teoh hit Filter Blair Guys, you blur. I might be pronounced in that, um, terribly, but yeah, and then you can change the blurriness of the image. Reason why you want to do this is probably not to blur the whole entire image, but just portions of the image. So since we duplicated it, we can erase portions of that image. So we definitely don't want the faces to be blurred. But if the backgrounds blurred that, would ADM or focus, too? Our characters we're gonna change the opacity to my erase or so the harshness of my racing isn't is strong, so it's a little bit more subtle, and this is a destructive way of erasing this image. I will get into a nondestructive way of erasing this. But for all intents and purposes of this section. I don't want to get into that because that's a whole different topic. We're just talking about effects right now, so that's a way you can blur. You see, that kind of works in the favor for the rain. Not too bad. Okay, so there's also the opposite, which is sharpening. Oh, so I'm gonna go ahead and merge these two images. Since I like that effect, in order to merge two layers, you're gonna hit, click on one layer and then hold shift and click on the other layer. So they're both selected, and then you're gonna right, Click on on both and then click merged layers. Awesome. Good job. All right, so now the opposite of blurring a sharpening, which is really nice kind of final touch it if you're going for that more of an edgy fill, which this image could certainly do that usually the one that I pick is sharpen or smart shock sharpen. But we're just gonna hit, sharpening and automatically sharpens the image without adjusting it. So you can see as a toggle back and forth by hitting control Z from the before and after. That's what controls Z does. Our control shift z our control. Alton. See, my bad, uh, goes back, back, back, back, back. But control Z, just talk was between the less, um adjustment that you did so toggling back. And you can see how that those raindrops really start to pop out. So that's that's really a nice effect to apply it at the end of your drawing. Those are really the two important ones. If you're just starting out, I say those air the really the only ones that you need to know right now. Alright, guys. So I hope that was intuitive for you guys and I see in the next one. 8. Flip Your Canvas: Let's get into flipping the campus. Um, flipping the campus. This it looks like this. Think, think, think. Okay, so pretty, pretty basic. Um and the idea behind that is that when you flip the canvas, you get a different perspective of the painting and you can see flaws with it and be able to fix it by essentially having a fresh pair of ice because the paintings been flipped. It's not something that comes with Photoshopped. It's actually an action that you have to set up. Inaction is pretty much, ah, hot key that you hit that does a series of things that you told it to do. Let's go toe window and click on actions and that brings up our actions. And there are some defaults here, which I never really got into. Um, I just used the one that I created, which is looking the campus, and I have the high key set toe box. But you guys consented to whatever you want, basically the how you make a hot key to flip the canvas. This is gonna be step by step. So follow on first start by creating a new folder which will contain all the steps that you take in creating the foot canvas hot key. So you create the folder and then just call it foot canvas or whatever you want to describe it. And then you hit new layer this little icon right here beside the folder and then you know that that action, the name I don't I don't really know what's name that So but then you, um, you given it a hockey that you want. Um, so let's say we want F eight or shift F eight. I recommend just leaving these blank because you're gonna be hitting it so often. You don't want to be stretching your fingers across the keyboard by hitting shift and then always f a that that's a pretty far stretch if you're using one hand s. So if possible, keep it at one key. Um, and then you don't have to worry about color. And then so after you get your hot key, you hit record, and now what the programs doing is is capturing everything that you do right now. So it's recording what the series of steps such that it's gonna take when you hit that key . So in order to flip the canvas you go to at it, transform flipped horizontally. And then you hit. Stop. There you go. If I hit F eight now it flips the canvas. That's is about as complicated as I want to get with setting up actions. Only action that I ever really used. But they can get more complicated. Um, if you so one want them to be all right. So definitely helps your painting process. And I recommend if you're gonna be digitally painting, get you a flip campus hot key set up, so all right. 9. Perspective Grid Tip: show you an easy way to get perspective grid laid out on the canvas and that is clicking over here on our shaped tool. Um, for you, it may be the rectangle by default, but we're gonna, uh, choose Polygon tool. Then we're gonna go up here to the number of sites. Well, first, let's click on the settings. We want to make sure that it's that the star is ticked and the indent sides by percent is 99%. And then for the number of sites, I usually try to just just do something random. But you wanna have a lot and for May 40 seems to do the trick. Um, you can have more than that, of course, but this is the number of lines that are coming out of this star. Now that we got the settings the way we need it, we're gonna draw for start, and we just click and hold and pull out like that to change the color which I like to do. You can go up here to feel and change it to maybe like aqua to something so that you can see it. You can see that we have a nice can actually move that to the dead center, and you can see that we have a nice one point perspective grid. And since this is its own layer, we can turn that off. If you remember my illustration earlier of the kitten and dragon, I used a grit up this technique of the polygon drawn this grid in order to get background and perspective for this. So that's one point perspective, and then you can draw you another one or just simply duplicate this object this shape. Teoh get a two point perspective. So let's move that off to the sun. And then to duplicate this, we can hit control J to duplicate a layer. Or we can click and hold Ault and click on the polygon itself and click and drag and across the screen you can hold shift so you go in a straight line as well. And now we have a nice two point perspective layout. You do the same thing again for three point perspective 10. Adding Color to Black & White Painting: a great way to start a painting is in black and white. The reason why it's a good idea, especially if you're new, is because you're only focused on value, essentially light and you're not worried about. Do I have a huge right? All right, as I got my fairly rough little sketch of Ah, the ball spear here down. So now we're gonna go and add some color. The first thing that I made do when approaching the color stage of this drawing is I will, at a new layer change that layers blending mode. Teoh overlay. Now let's say that we want this seem to be more red, so we pick our color and we can either drawl on top of it like so I pretty much want the whole layer to be read in a fast way. To do that is to hit all backspace, and that feels the whole entire layer with the swatch that you have over here. So these watches over here is your current color. The front line is for all backspace. If I want to fill the color with white, since that's my secondary color, I can hit control backspace. If you hit X. It toggles between those two colors, and if you hit de, it takes it back to default. So that's one way to add color. But I usually do not let this layer do. All the work for me will create a new layer and add in some more color. So if I wanted some yellow in this highlight, I would simply just add that end and blended as needed. Heavenly overlay. Blair is just a good base to get started from. It can do all the work for you if you if that's the style you're going for. But for me, I like to give that extra that the overlay layer does not provide. Remember our effects that we talked about in one of the last sections? No. If I want to add ITM or saturation to this, I can go and click overlay over here. This remember, this is just affecting the brush, not the layer itself. So whatever I draw now with the color that I choose its at and Mawr saturation and blending it a little bit better than having it just on normal does. So I like to give it a little bit of a touch of that and then kind of blend that end. But we could also do a different way. And that's about edit in a radiant map. What a great Ian map does. We go down her hair tour fags. We click on Radiant Matt and then don't click on it. What it does is it applies this color, this purple color to your shadows and this yellow color to your brights. So what I can do here say, I don't want purple and yellow, but maybe blue and yellow. I can change this to a blue. Then this yellow gonna brighten that up a little bit more because it's a little too orange right now. We can also change the blending mode from this from normal to, say overlay. That didn't do too much. Uh, really. But let's try a different one. Let's try color color looks a little bit better. We could also add some more saturation as well hopes by hitting huge and then bump up the saturation. And once again, I would really just work with this as a base and work from it like that, and I'm looking at this and thinking it's a little too saturated. So I'm gonna bring this down a bit, starting here out here in the beginning, Um, that's two ways that you can add in color to a black and white painting. 11. Thumbnails - Concept Development and Practicing : Let's talk about thumb. Knauss somehow is drawing really small so that your focus just on the composition of your art piece and not the finer details of things. If you have a good thumb now, then you have a good composition. So that's thumb nose is a great place to start. So let's let's do that less. Basically, this is how you set it up, and we're going to be used in clipping cooking mask to do that. First of all, you can work on a really small campus se 200 something pixels by 100 something picks us. So that's that's one way of doing a thumb now is to draw on that bet size. But what I like to do is to draw on a larger canvas and then put the thumb now and on the canvas by using our rectangle tool down Here s a rectangle and say, That's That's my That's my campus that all later used on a bigger scale if I so choose to. Unless change that to Gray now, as you can see, we're gonna add us 1/3 layer here. And if we draw on this, you can see that the lines go outside the box. Well, in order to keep these lines inside the box so that we're working directly on this thumb l and nowhere else We want to go over here to our layers, hold the ault key right in between the rectangle and the layer that we're drawing on and this little icon where there's a square pointing below will of here, and then you click, and then that will make a good thing mask. So now that everything that we draw is gonna be on that layer and nowhere else, then I would basically just draw, you know, a concept here and to see if it works. And the idea with thumbnails is to really dish out a bunch of these, so we would actually have more than just one rectangle. This is pretty much, you know, a playground where we just brain dump everything and anything that we think of. This is just a way to figure out what you want to spend the next few hours on, because this is a way for you to quickly get out some ideas. You don't have to cherish your darlings as they say, where you don't get so stuck on one idea and have to make that idea where this you get all the ideas out and choose the best one. And then you would just make clipping mask new layers for each one of them so that you have all these thumbnails toe work with. So that's one way to do thumb. Now's another way. Could be for doing master studies. And basically, that's where you just take a art piece. That one of the greats did you know to take your pick? Caravaggio. Michelangelo, Dolly. So I'm just gonna grab this care Baseggio masterpiece. We're gonna scale that down very small so that we're just looking at values and concept on everything in between. That's not the details. And I'm gonna go ahead and get rid of these squares because we can use this image as our base layer, But we're definitely not going to use the same color. So we're just gonna hit control you and then convert the lightness all the way down to the black, and then I'm gonna actually bring that back up just a little bit. So it's great. And now it's the same size, so I know that I don't have to worry about. Size is an issue now. One way to actually do thumb now is is you're not supposed to select the color, but if you're learning, if you're very new, do what you want. But I highly recommend that you tried to figure out the colors for yourself over here by just looking at all and then just double check to see you know, along the lines of what if you were close or not. That way you could get an idea of what types of colors to use and for your other projects. As I'm doing this, I want to just briefly mentioned, Don't forget to put your canvas to get different perspective. And, um, I haven't mentioned too much about brushes. Like I said, you can play around with your brushes as Muchas you need to figure out male. But for the most part, I've been using the hard brush, but normally I would use a charcoal brush or or some kind of other painterly type of brush . But this can be done with you're hard brush, and you can play around with your hardness so that you can make the brush more softer or harder to 29. What you're currently doing skin tones and shadows and stuff like that's really good if it's first talk softer brush. But if you need the hard edge obviously Ah, harder brush is when you meet and size is a is a thing as well, so you can miss with the size here. But I completely forgot about talking about size and one of the last sections. I should have mentioned this probably in the tools, but I don't mess with size on this on this pop out box because I use my bracket keys. The back bracket in the front back bracket will increase and decrease your brush. Also, another way to do it is if you hope, control and all. And hold right click. You can go left to right to size it that way and up and down to size Thehyperfix this super effective super fast super amazing. A little shortcut there. I'm doing these thumbnails. Try to stay at one, uh, 100%. Um, it can be tempting. Teoh, go deeper in and try to get in some details. But remember, we're not We're not trying to get, you know, the perfect beard around. Jesus face here. We just want to get the basic concept we want for our thumb now to say, Hey, there's three guys here and there's one guy that's push in another guy's hand into a stomach or some something close to that as long as I could get three different guys here looking all in one direction, Um, that that would be great. And that's that's the purpose of thumb now is to create a concept and took tow. Learn. When you're doing these master studies, it's learning its getting mileage in so that you can have a ah wider library knowledge bank to to pull from when you're doing your own thing. Because if you just design based on what's in your head, it's very limited, especially if you're new and you haven't done, you know, thumbnail studies. I'm definitely a new artist, has haven't been able to tell eso I love doing these thumb. Now's in order to practice and to expand that bank of knowledge. I feel like this image was a terrible one to show, because for me it's very complex. I'm not gonna lock. There is a lot going on but I love Caravaggio. That's why I decided to do it. But I did not even bad attention to what I was getting myself into. Um, so yet when you're doing your own thumbnails, don't I recommend not choosing something so complex? Keep it simple. I would keep, like, do some still life for unless you're you feel really confident you really want to challenge , But I don't recommend it. If you want to give this one a shot to go right ahead him wearing this, this cloth and all these flaps, it's so hard, not toe Teoh Start drawn in some of those details. But you really gotta try to just squint your eyes and get the basic building blocks of the forms. And that's kind of what I'm doing now. I felt like I was see, I'm teaching this stuff, but it's so hard for me to even practice it myself because I want to start drawn those details in, Um but But don't don't do it. It's not gonna do good until you get those basic, uh, structures out so kind of squint. Your eyes kind of pulled back a bit and look at it from from a from a different perspective from a far out perspective. And then you can actually see what it is you need to draw. I mean, I can't really see. You can barely make out any of the flaps in the cloth from this point. So that's that's about as much as I need in my own. So what I'm doing now is I've I was working with a hard brush. I brought the hardness down just a bit. Um, so I can try to smooth out some of these, uh, these details and try to get rid of some of these unnecessary brushstrokes because a lot of the brushstrokes right now are very distracting. Andi makes the piece a lot more confusing than it needs to be. But I definitely don't want toe start blending in this area because you can see that this is a really hard edge. So I don't want to take my soft brush, crossed it because it's gonna make a soft edge. And I don't want that. I want to keep it hard and Chris like it is over here. Um alright, guys. So that's my thumbnail. And that is that's where I'm gonna leave it at the The idea for me when doing these master studies is to learn something from it. And for me, I learned what while doing this, I learned that this painting, at least the image of this painting, is a lot more saturated than I thought it would be. What have been that's s Oh, yeah, that's something that I can take to do in a different concept in the future. So, yeah, I'm gonna leave it there. I, you know, looking at it, I definitely see some obvious flaws, such as the very sketchy nous of it. I mean, but if you take it back a bit, it they I kinda read the same. And I feel OK about that because I feel like in the grand scheme of it all, I did get the mileage it And that's what doing art and improving in anything is is good that mileage and get that practice in. And I didn't learn about saturation, so yeah, 12. Export Painting for Print and Web: Alright, guys. So once you finish an art piece, you'll want to save it. Um, as probably a photo shop. File us with all your edited layers and what not? And you'll probably also want to export it as, say, a J peg or a PNG, so that you can share it on the Web, maybe a PdF for a print. So let's do all for those. If you want to save it as a PSD you hit file save as or to bring this dialog box, you can hit control shift s. And then once you've find the location of where you want to save it, name it, whatever and then safe. So that's pretty simple, right? And it's pretty much the same thing for J pic and PNG. You just select the jot down menu from the same as type and, like J peg, our PNG, you want to save it as a printable Pdf. You know you can print J peg, but it's just better for PdF. Don't ask me why. I really there's probably a good reason that I can't really elaborate on right now, and we look at it. It's dark in here. It's getting late was wrap this shit up. You want to first converted into seem like a because printers use Sam like a When you're painting, you want to use RGB because that's the colors on your screen. So we're going to go to image mode seem like a It's just going to say something that we're not going to really read, and then we're gonna click. OK, now it's in Sam like a and probably did dull the colors just a bit. But that's that's the price that you pay when when you print, um, you got different colors that you're using, so it's gonna alter it just a little bit. Ultimately, this is not an accurate representation of what will be printed. You'll have to print it and then see what it looks like if it's too dark. Then you make those adjustments and then do another test print and someone just a little f y I there. But anyway, so now that is converted to see him like a we go to file save as and then drop down menu. We're gonna hit pdf. Now, when you're gonna save here, always click save as copy because it will overwrite your photo shop document. I don't know why it does this in. Why, Um it's the same as copy is an automatic quick check, but in my experience would saving it as a Photoshopped. Pdf, if this is not ticked and you've already converted over to see him like a and you flatten your layers and everything, um or you did whatever you needed to do to get it to that final print ready stage. Have it as save as a copy and then or, you know, name it. Teoh. Something different than what year Photoshopped document is called. But just Davis copy and look, OK, what that says. And then we're gonna click on high quality print. Or if you have a different printer with different settings, you can change those here. So this is where I always went wrong because I wanted to make the smallest pdf file formats as possible. Um, and I didn't want to give those layers to anybody else. Maybe if I'm going through some kind of, uh, printing vendor, don't want them toe have to deal with large file sizes. So I uncheck preserved photoshopped edible capability. Now, if you do this like I said, remember, make sure you have that safe as copy or save. It has a different name because this is this is what messes up everything. If you don't do that, because if you try to open up your Photoshopped document again, all that information will be lost. Which if you're working in digital painting, you might not have that many layers. But did you want to keep those safe? And then you just hit, say, Pia and there you have it. That's how you export. 13. My Painting Process: guys. Welcome back. Um, and I'm gonna show you how I made this little sketch here. Um, from from start to finish because we've talked about blending. We've talked about the tools we've talked about, you know, setting up actions. We talked about a lot of stuff today. So but how does that all apply to from, like, start to finish? And how do I go about creating this? What I'm gonna do is just basically show you how I made this. So you guys get a good idea of what it's like to digitally pain. So I got my Photoshopped document here open, ready to go. The first steps that I usually take is is the line work. I want to start kind of sketching out basically what? What it is I want to draw. Um, and I do this with a hard brush with a very small size for this particular canvas. Three pixels is big enough for my line, Mark. Um, and I'm just playing around here, so let me show you the actual line work. I did. So this is just basically the idea that I had I wanted some kind of, uh, gas station kind of effect. And I knew that I wanted the lights to kind of be player and out. So what I did was I went ahead and, like, clearly defined my lights. Um, and I did that with the less O Toole, Um, with not the this one but the polygon life. So So if you hold down on the lasso tool for that, this one right here and then just go down, you get the polygon lasso, and then you can draw it by straight lines from one point to a next. So I took the window and drew out the windows and the doors on de not basically edit a brighter light to those for these lights out here and to figure out kind of like how they would lay on the ground. I had my perspective grid line that a two point perspective layout here and, you know, really before even had the line work out. How I had these perspective lines you can see actually zoom out here, Hit control T. This is how big it is. This is how far out that those Ron's are. Let me get this seeing that's where it's at, and I just push it all way to the side off the campus because if I had any closer, things would look a little distorted. So that's really this is really how us had it all set up. And then I started sketching my lines, using the grids. I was pretty happy with that. And then I added the life, all right. Then I started painting, started painting and some of these guys a painted on a different layer because I didn't want my line work. You know, my my solid foundation to be affected by by the extra paint that I'd be adding extra shadows and what nots. Because, you know, if I was paying all that in one layer, it might have destroyed my line work. And then I couldn't go back Teoh my foundation where I knew that this was working. I knew that I wanted to have a guy in the window smoking a cigarette as if like he was on break. And you know, he's taken one last hit before he has to go workers, you know, a job that he hates. But this is like the last that less second frozen in time, where he's kind of at peace smoking a cigarette. That's the story that I had in my mind that I wanted to portray in this, and that's really for me that the kind of art that I've been really interested in lately not to get too sad, attractive. But I used to do a lot of realistic paintings back in high school that was fun and all. But if I like it's it doesn't really say anything, just a really realistic glass. And Rose just does it tell the view or anything? They're not emotionally invested into it. Um, and I want to make people have some kind of emotional reaction when they look at my art, Um, I want And to do that, I have to tell some sort of story. Um, not always, obviously not always aren't subjective even, you know, just throw paint around and vomit on it and call that art. Um, and that's fine. But that's not for me. I want to tell stories. Um, and I want to tell stories, even even if this if it's sketch early. All right, so let's continue on. I kind of rambled there, forget about art, but you guys are all artists. So I'm sure you guys don't mind. Yeah, I This was my basic line work for that figure, and it was a little rough. And then eventually eventually did get out the details that you can see here. Um, you know, I had to keep playing around with it a bit against the, uh, submit. I was basically I have several layers where I was working on this particular figure because I had to get him right. You can see there's another figure here. The cash register. I wasn't too concerned about him and getting him right, because he's not my focus. This guy is the focus that I want viewers to be looking at, So just kind of breaking him down to the basics building blocks of people. Um and then, yeah, I do eventually get to this point for all you people that are going to keep up with all these hot keys. I don't even know if I mentioned this, but you can turn layers on and off with these little eyes. Just poke woman and they go away. What this hot key does is it merges all the layers that you have turned on in tow one new layer. And this is, ah, hockey that I use all the time. Um, and you hit control all shift e on the windows and that that just brings everything to one new layer. And that's what I did for my next step. I brought everything toe one new layer, and I added a destructive, uh, adjustment or effect on it. And that is the levels. I kind of just bumped up the levels a bit by hitting control. L or you can go to the image adjustments. We talked about this earlier, and then I could have brought up the blacks a bit in the whites, but I'd still try to keep it kind of Bill. I didn't want this black over here to reach the fullest jet black because you don't really see that a lot in real life. So here you can see the lights are kind of getting a little amped up, and this is a good use of a soft brush. What I did here we turn this off and just kind of duplicate what I did. If I take my heart brush, bring it all the way down and I bring it relatively large and size control. All right, click and left, left and right Is your size where you can do it this way. Um, I bring it up and I put a bringing up the white and get some white ink And then I kind of just softly kind of add in these little bright flares so you can see this little fact what I did next Waas I took its blending mode to color Dodge If you remember, Pillar Dodge just just amps up the light a lot. I guess we'll know what I mean. If you guys get in here and experiment with color dodge a lot, you can see the before and after of what it's doing here, using color dodge with actual color, you can see it being applied much more dramatically than was just black and white. And then next I add it even more glare because I knew this painting. I was just really having fun with it. And I was going a but like really extreme with these little flares and how I made those these two right here basically how I made those waas. I made one white shape right here just kind of fuzzy, blurring blob. And then I went to filter Blair motion Blair, And then you can change the direction of this blur and the strength of that blur. Next is the fun part. Adding color for this particular one. I didn't use the color and overlay myth that I mentioned. I'd use the radiant map method that I mentioned. And did you guys remember? We go down here to adjustments and then we choose radiant map right there and then you double click, click on this little shape right here in this pulls up your properties for that radiant. I started off with kind of a purple and yellow purple for the darks, yellow for the for the rights. I only have this set to 53% because I felt like 100% was just getting this kind of weird color that I wasn't happy with. But I was happy with 58 but I knew it needed a little bit more. So I applied another radiant Matt to it. And this one waas one of the presets actually this'll one right here and I said that one toe overlay because I felt like this needed just a little bit more color. Um and so that's That's where this came in. And I brought that down to 53% as well. Um, because, as you can see at 100 it's just way too much. So I felt like 53 was the effect. That or the opacity that I want to need that. Okay, you can see here at more bright lights to the to the windows, using the color dodge this layer, I started painting some new elements on the inside, you know, Like I said before I used the Grady, it maps. It's just kind of a base to get started. And then I start picking up some new colors. Teoh add in to help amp it up a bit. And that's that's basically what it did hear started at in some elements on the inside to really sell that gas station kind of feel without getting Teoh detailed in it because, like I said, I just want the story of this gas smoking outside to be told, uh, I didn't have been yet, duplicating all the layers into one new layer. Like I said, control all shift e dark ing in it with. Let me show you guys how it did this actually control shift, all e emerges everything that's on the screen into one new layer. Then I hit control you to darken it. And then I erase the middle with a soft brush. So I brought my brush up really large, really soft. And then I started to race and this flow is set down pretty low. So and see that? See how that's Adam Like a darker edge. C four after seven Yet I believe that's how you pronounce it. Um, but this this method is a destructive way of doing it. I knew that I knew what I was doing, so I knew, like I was working really fast and sketch early. And so I wasn't really too concerned about destroying the pain because I knew the direction that was going, and I felt confident in it. But if I didn't feel confident Adam, that's been yet. There is a different method of erasing, and this is by adding a layer mask. So this is a new technique. Uh, so prepare yourself for new information. Sorry, I didn't include this in the past. Okay, so we got our dark layer that we just add it weight control You. We brought down the lightness. Um, that's all working destructively. We could have done the same thing, but I go into Hughes and saturation and adding it and as layer it on itself. Okay? And you, you see here where there's on this radiant map where there's a square right here. Well, what is that? That is what's known as a layer mask. We can add that to any layer here, and I'm gonna show you what it does by Adam one to this darker layer that we just added. So you added where masked by cooking this button down here says add layer mask. Um, we're going to do that on the layer that we want it on. And then this is the representation of its transparency. Maybe. All right, put this in words here. So white means that this whole layer is visible. We paint with black with a brush, not the eraser. So switch over to our brush. We're gonna paint with black. When we paint black on this white layer, it starts to a race. You see, that can erase the whole thing we painted back toe white that makes things visible. Does that make sense? So that's one way to add a vignette in a nondestructive way. You can add in elements and erase elements and bring them back as you please. I hope that I hope that, uh, clear clarifies things up there with the last few steps. I just added in a little bit more details, but not too much. And then at it in a filter, sharpen, sharpen effect unto the painting because you can see that bumps up the sharpness of it. I felt like that sharpness was a little too hard. You're 100%. So I brought it out about 50 ish, and that was how that particular painting was. - Oh ! 14. Assignment: Alright. Guess through this. You made it. Made it to the end. Hey, I'd really really think you guys alive if you made it this far and watched all the videos in your now getting to this point. What's next? What? What I gotta do? It means a lot. It means a lot that she stared at my face this long and you guys were ableto tolerate it. Just Thank you. Thank you for participating is a lot of fun. A lot of work went into this, Believe it or not. Now it's the time for you guys to show me what you got. Show we would you go? Are you all ready for this? All right, so the Assam, the assignments gonna be three different little projects, you guys. No, I'm not gonna stretch gets out about this because, uh, you know, this is your thing. Do one due to do all three of them. It's completely up to, you know, no really major parameters of this, just, you know, have fun with it. The fact that you guys can make a Photoshopped document and create something and send it to me, it just shows that you know, I did my job decent everyday. If you're able to create something awesome because that's what this class was all about, it was about teaching traditional artists that there is a new type of medium out there and for them to get in and explore. If anybody that is a digital painter and came in here looking for a few tips, I really hope that you get very learned something. If not so let's get to the assignment, I guess at 33 different one. That's it. 31 of those things is the 1st 1 is lending. Take two different colors, you know, preferably a warm in a cool color would be nice. And just like in our blending video, take those two colors and try to make as seamless as possible of a bland, You know, like I said, no parameters. You don't have to use a hard brush. You could use a soft brush. You can use the mixer tool if you need to. After you guys get the blending down, I want you guys to do a master study. So, like in our thumbnail exercise, take a painting from the past that that you really like to scale it down and try to mimic it as much as possible. And you know when you're doing that tried toe, learn something from it. And don't just I dropped the colors but tried to predict the colors at first and then apply . And then you can go back and check to see if you were close or not. This is a great way to practice and learn how to digitally paint. And it's just an overall great exercise for artists that are wanting to improve. Their artistic skills are obvious needs. I think I got a sneeze. Okay, most quite a sneeze world. As far as what artists to choose. I recommend doing something from the past because a lot of that is realistic and you can learn a lot from realistic. I'm like I said, No perimeters on this, uh, you can do and, um, a if you want, but I don't know if you'll learn as much from doing like a thumbnail of an anime character as much as you would do and say a landscape or some kind of steel lifers or something like that, where there's actual realistic lighting and stuff for the final assignment I want you guys to create your own actual peace. Make your canvas size whatever you want. 1000 pixels by 1000 pigs with There's a nice instagram photo. Doesn't matter what it is. It can be an immediate can be some kind of landscape A still life portrait, your ex girlfriend cat box here anything that you guys want Anything at all Art art is everywhere. Anything is art So guys go wild at this Show me what you've got Show me what What you're really into and why you guys took this class. Alright, guys, that's it. I can't wait to see what you guys got and I'll see you guys down in the comments. And once again, thanks a lot for taking this class because awesome. All right, well, see you