2. Welcome to Class!: - my folks welcome to mash it with pencil meets pixels. - My name's Jamie, - and I want to tell you how excited I am to share with you today. - Strategies and techniques I've used over the years to create what I think is a very unique - form of digital art and traditional are used together called Mash up. - So for me, - it's very exciting, - and I want to thank you for being unengaged interested audience. - That's it. - I'm looking forward to getting started. - So seeing class. - All right, - so let's dive right into the course. - Old review unit one. - So at this phase, - we're gonna want to start thinking about what we want to accomplish in this piece are solid - idea is gonna help us stay focused and stay on track. - Then get sketching the mash up way unit to Photoshopped. - Basic training. - The goal here is to get you up to speed quickly by using easy to understand language and - infographics. - In addition of this, - I'll share with you my tips, - tricks, - work grounds and shortcut preferences. - Begin class project. - We'll start with the raw scan of are trying, - and I walk you through the project from start to finish you'll observe how use the tools - together in a powerful team effort to create your digital masterpiece Unit three Complete - Class project. - As the project progresses, - I will explain in detail my techniques, - tips and tricks, - shortcuts and workarounds. - I will demonstrate how to quickly explore different color schemes, - add beautiful textures and apply effects that emulate traditional art. - Resource is in this section. - We will have a brief discussion about various resource is I use on a regular basis that - help me make the best work I can, - so let's get to it. 3. Research and Development: - Unit One Research in establishing design direction Before you start your project, - it's important to decide on a design direction for this class project. - I suggest starting with the subject like a friend or family member. - Try to imagine how you're going to draw surrounding background image that matches the - personality of the subject. - Maybe even taking kids drawing him mashing up in photo shop is a fun family activity for my - project. - I knew from the start I wanted to do something with my pet cat Cash. - It was fun and told a story about his personality. - I thought that a dashing Renaissance man was a perfect fit for his character. - So I jumped on the Internet and began collecting reference images that would help me get - ideas for looks, - color schemes and poses. - I usually keep these images handy for references that work on my artwork. - Once the design direction is established, - keep your collection of images and refer to them as you create your masterpiece. - Now it's time to dive right in your class project and start mashing things up. - Let's go to class 4. Get sketching the Mashup way: - Unit one. - Get sketching the mash up way. - OK, - guys, - now that the research phase is completed, - let's talk about sketching first. - I want to tell you that in my experience, - none of the existing design software today, - even with a drawing tablet, - can truly replace the pencil for initial composition. - I can make very accurate line work with the pencil, - and the pencil is a more direct connection to the visual center of my brain. - There is no interference from clunky devices like a mouse or tablet or tool settings, - which can put constraints on your creativity. - In my opinion, - if you go right to the computer every time and skip this sketching phase three, - creativity and quality of your work will suffer. - You will notice in my sketches. - There are lots of bits and pieces that are actually clipped out. - Photos in the drawing of this murdering made the fan in the face are really just worked - over photos for digitally painting and composing. - However, - photo shop is extremely powerful and very forgiving compared to traditional painting - methods. - With the history palate, - you can undo any mistakes instantly, - re color and rearrange your entire artwork in seconds and If you don't like it, - go right back to what you have. - Try doing that one. - Traditional pain. - I have also found that this flexibility has increased my creative horsepower greatly as I - can fearlessly experiment, - move objects around and re color my artwork in a fast, - non destructive manner. - This'll rapid nondestructive changeability means I can choose a final composition and color - scheme out of scores of experiments, - and the freelance client can as well, - very powerful. - Indeed, - However, - the drawback here is that Photoshopped tools are clunky and mechanical compared to - traditional materials. - To change the behavior of a brush and photo shop, - for example, - you have to tweak the settings by using sliders and tool options, - whereas with a real breast, - you can just twist your wrist or pressed harder or grab a brush of a different shape with - digital. - You also have to use a mouse or a tablet to create your work on screen, - and you can't really step back to see your work from a distance. - Only zoom out thes air. - Big disadvantages to digital. - What I'm trying to teach you here today is that there are great advantages and great - disadvantages to both traditional and digital media. - After years of trial and error, - I have combined what I feel are the best aspects of both approaches. - I call it the mashup method. - Let's see the mashup method in its early form. - By looking closer at one of these examples, - let's imagine we are commissioned to create an illustration of this man in his top half - bombing around in his favorite hot rod. - To do this project, - I would likely start with clipped out photographs of the key subject matter. - Notice how the hot rod in the head, - our photos and the rest is drawn in with the mashup method too difficult to paint. - Aspects of this project would be handled by the photos, - as opposed to a much more difficult method of drawing them in from imagination. - Poor observation. - The hot rod, - for example, - has many complicated mechanical parts that are difficult to draw in perspective. - Another hard thing to do is create an illustration that has an accurate likeness to a - specific person. - The photo of the hot rod sets in the perspective, - and painting over the photo of the face makes it much easier to make my final rendering - look accurate. - and professional. - This met that is much quicker and more accurate than drawing the face in hot rod from - imagination or by just looking at the photos. - Typically, - I would just lighten up these images and Photoshopped, - print them out on a desktop printer and draw right over the printout. - Now it's easy to draw in more details and fun stuff that is in proper perspective and has - accurate likenesses. - Finally, - I would scan my mashed up, - drawing back in the photo shop and using the painting and compositing techniques that will - teach you in this class. - You could paint over the drawing and photos and end up with a professional finished product - . - Here's a quick look at the class project created exactly in the way we just discussed. - I keep my reference images handed to give me ideas for clothing and color schemes. - Now, - without a doubt, - the hardest part of this piece would have been to paint in the images, - my cat, - have a look professional and have an exact likeness to him. - This is hard to do from imagination and observation alone For that part, - I just placed in a photo and painted over it for the body. - However, - I thought it was easier to draw in a lapel pipe. - And Pau in this case, - the pencil was quicker and better than placing in images of code scarves and pipes. - Plus, - the free flowing aspect of drawing allowed me to get really creative, - like put dollar signs in the lapel and drawing a cool ascot. - So it really is the best of both approaches. - Used together in one technique, - that's the mash up. 5. Photoshop basic training: - Unit two Photoshopped, - Basic training and begin class project. - Let's take a quick look at the photo shop interface across the top. - We have the menu bar underneath that we have the options bar. - To the left of that is the toolbar, - and to the right of that, - we have palette icons in pallets. - Now Photoshopped palates can be moved around and collapsed in an infinite right of ways. - But for the sake of this tutorial, - I'm gonna use this default arrangement. - Let's make a new document quick file. - Click New Here. - You will be asked to put in the document dimensions and the document resolution simply - typing the size you want to make your documents in these boxes. - When we start this class project, - I'm going to make my document 8.5 by 11 inches. - Since this is easiest for use with desktop printers and fits a standard picture frame for - this project, - I suggest you do the same. - In a few seconds, - I'll explain resolution in more detail. - But as a general rule 72 DP eyes used for Web images and 300 d. - P. - I is used for print. - The safe bet is to always start to work at a high resolution like 300 DP I. - I will start my project in RGB and at 300 g. - P. - I and I will explain the difference between RG B and C M I K color modes. - In a few moments, - let's close this dialog box and learn about resolution. - Everything you see in photo shop is represented with tiny squares of color cup pixels, - much like a mosaic. - A 72 d p. - I image has 72 mosaic tiles per inch, - which gives the image of Bach. - You look when zooming close, - much like the way this mosaic of a fish looks blocking. - Ah, - 300 BP Image has more mosaic tiles like in this example, - the more mosaic tiles are pixels. - An image has the smoother. - The representation is DP. - I stands for dots per inch, - which is just another way of sand pixels per inch. - I have made two documents that are the exact same size in inches, - but different resolution in this 72 dp. - A graphic. - When I zoom in, - you'll see how the graphic looks blocky, - but the 300 c p i image looks smooth like the mosaics. - The 300 DP I image has many more pixels crammed into a square inch, - resulting in a much smoother result. - The advantage of a 72 d p I image is that the file size is extremely low and load superfast - for Web for print, - However, - loaning speed is not an issue. - So go for the 300 c p I. - Let's learn about layers photo shops, - most powerful feature. - I like to describe layers by comparing the way they function to the way Animator's draw - cartoons in traditional animation artists work on stacks of clear acetate sheets or cells. - Imagine a foreseen from a vintage animated feature. - The forest would be drawn on the bottom sheet of estate called the Background. - A clear sheet of ass state would be placed over the background image, - and on this sheet you would drop bird changes to the bird drawing can be made without - changing the scenery behind it. - So what you see in your Photoshopped document is like looking straight down on a stack of - clear estate sheets. - It looks like a flat image, - but in reality it's a stack of layer graphic elements composing what you see What makes - this so powerful is that the pixels on their own layer can be modified without affecting - pixels on other layers. - Also, - in a single layer, - you can have pixels in some parts, - but have it totally transparent or no pixels in other parts, - allowing the pixels on the layer behind it to be visible. - Each layer can be infinitely modified using photo shops, - tool and menu palette. - When your class project is completed to your satisfaction, - you can flatten all of your layers down onto the background and then save it as different - file types like J pegs or tips. - I'll show you exactly how this is done during the class project. - Let's talk about our G B and C M y que color modes. - RGB or red, - Green and blue is a three color mode that is usually associated with digital displays such - as flat screen monitor, - digital cameras and scanners. - I usually start my work and RGB color mode so I could display my work on the Web. - I can always converted to see him like a later for printing printers. - You see em like a color mode to print flyers, - brochures, - advertising newsletters and direct mail. - This is a four color mode that utilizes the color scion magenta, - yellow and black in various amounts to create all the necessary colors. - When printing images, - it's important to note that color is displayed on your screen in RGB color mode. - Look up more vibrant than colors printed in San y que mode. - This is especially to for vibrant green and vibrant scion colors. - As seen in this example, - Let's talk about the selection tools. - First. - There's a lot of redundancy and Photoshopped. - In other words, - with so many selection tools, - there are a ton of different ways to go about doing the same thing. - For this reason, - I'm only gonna give you a quick look at the tools that I have found to be the most - effective. - All the selection tools allow you to isolate and manipulate pixels within the selection, - leaving everything outside of the selection untouched. - We'll start with the most basic selection tool voter shop, - the marquee tool, - or M on the keyboard. - Things. - Tool is ideal for isolating large to find areas very quickly. - It's a real war course, - and you use it constantly. - The pixels inside your selection can be quickly copied deleted or manipulated. - The pen tool or pee on the keyboard takes a bit of practice to use, - but once you've become skilled with this tool, - you'll find that is very quick and extremely accurate. - Each quick creates an anchor point. - If you want to create a straight line, - simply click. - Then move the mouse, - then quick again. - If you want to create a nice, - smooth curve, - simply click and drag, - then click again. - Draghi Motion creates to control bars that allow you to create a perfect curve. - Thes bars can be clicked on and move, - which control the shape of the curve. - With practice, - you will be able to make very quick and accurate selection. - My technique is to zoom in very close and begin clicking around the desired area. - This keeps my selections accurate and reduces eyestrain. - When I need to move by viewing area, - I simply hold down the space bar, - which changes my cursor to a hand icon. - Once you see the hand icon, - simply click and drag, - which moves your viewing area to the desired location. - Then release the space bar. - Space bar will not deactivate the pen tool, - which means you can quickly go right back to your rapid click drag and space bar technique - . - Click drag quick drags based bar to move. - Click drag click drags base part of move, - you got it. - Once you close the path, - go to the paths palette and click on the dotted icon along the bottom called load path as a - selection, - and you have a perfect mask. - Another quick and dirty selection method is the good old want tool and the quick selection - tool. - The shortcut key is W on your keyboard. - Want Tool gets a lot of flak from other photo shop users, - but I still use it frequently. - If you click somewhere in your image, - the selection instantly radiates outward from there. - Click until it encounters pixels of different colors or contrast. - It can be very fast for grabbing isolated areas of pixels. - Try out The quick selection tool is well, - it works by brushing over the image, - and it's surprisingly accurate, - grabbing pixels where there is color and contrast asking for and hair. - So I already have cash mostly clipped out with the pen tool, - but it's time to completely remove the background pixels from the for first, - I will need to duplicate the layer. - I do this by holding down the old key and clicking the layer and dragging upward. - Then turning off the visibility of the backup player I will control or command click the - image, - not the layer name of cash, - then hit control age to hide my selection. - Now with cash selected, - click on refined Edge option. - By manipulating the sliders, - you could see how the refined edge tool removes the background from behind the for to an - extent. - Typically, - there will be some extra erasing needed to achieve perfection. - If you use one of the scattered brush tools, - it can be done quickly and easily. - Let's adjust the sliders until it looks just about right now. - Don't forget, - all the pics is on this layer are still selected, - but I have them hidden with the control H Command. - This is so I can better see the function of the refined edge sliders that looks about right - click OK to finish up, - you'll see how my mask is visible again and the black background is back. - Now I want to delete all the pixels outside of cash. - To do this, - I go to select inverse let's say control age to hide the selection. - Now the Basque is highly feathered, - so I will have to hit the delete key several times to delete the pixels. - Keep an eye on my history palette to follow exactly what I'm doing here. - Hit Delete key. - Delete key. - Delete key. - Delete key until the background pixels are gone, - that looks pretty good for his body. - But on this pot, - it looks like there was too much removed. - This is why we have the backup player turn the backup player back on and begin erasing - everything around the paw. - Looks like the cat tower had too much removed as well. - So to undo more than one step, - we need to go to the history palette and go back a few steps back to the paw to erase. - Here, - grab a soft edged brush to make a nice transition between the layers. - Use the back Yuki's too quickly and large and reduce the size of your brush to do some fine - tuning. - I would use the speckled brush to switch to this much tool using the smudge tool and a - speckle brush pushed the pixels inward to clean up any residual background pixels in - summary, - using a combination of the pen tool, - the refined edge tool and this smudge tool, - you should be able to perfectly remove the background from any hair or fur in future - projects. 6. Class project - Part 1, digitizing your sketch: - so you'll see my original drawing on the left. - I already have cash clipped out from you'll know from the basic training can do that. - So I just hit control C. - Puts it on the clipboard and control V to paste into my drawing. - Let's get this in the right spot so I do that by edit transformed flip horizontal. - First of all, - then real quick controlled T on this layer. - I'm holding down the shift key to constrain the proportion, - so nothing distorts. - Now double click on the back home background, - which makes it a layer and then make a new layer. - Put that behind the drawing layer, - and with this layer, - we're gonna fill it with out of medium grave and switch the drawing layer to multiply. - This makes it transparent. - Let's make the gray layer a little darker. - Did it feel with the dark lair A little more fine. - Tuning on the head looks all too big, - so control t again. - Then grab corner to rotate real quick as you saw that I did. - And let's make a new layer in front of the grey layer. - This layer we're gonna drawn. - So grab your trusty pain tool and let's trace the outline of the coat. - Using the click drag technique, - click and drag click and drag me typing drag. - It creates a her that she could control with a little bit of practice. - You'll nail this every time, - and then I just really lazily click away outside cause it doesn't matter. - Then go to the paths palette and click on Select Path is selection. - We're gonna fill that real quick with black, - but I use this image hue saturation a lot, - so knowledge doesn't affect the brightness, - but it affects the coloring, - and I like a slider so I can kind of budge with until it looks just right for the make a - new layer on the gray layer. - Rather, - I'm gonna fill that with a filter I like called difference clouds, - but that does this sort of brushes in your foreground in your background color into a nice - sort of brushed a Renaissance e undercoat look so on the coat layer backed off the darkness - a little bit, - and I made a new layer with this layer. - Let's fill in the lapel, - so to make a new layer you can hit control in, - or you can click the new layer icon in the bottom of the palate. - Here I'm using my same pan technique. - Click and drag, - and it would go to the paths palette real quick. - Oh, - click on that load path of selection. - Now I'm gonna grab a color that I like trying to sort of keep that renaissance palette so - sort of earth tone. - But see how this gold looks not bad. - I'll keep it on this same. - Let's call it the lapel layer. - I've just leaving it as later six because it takes a long time to rename every single layer - , - and I get a little lazy about it as I like working fast once again paths to selection and - fill it on the lapel layer, - which photo shops calling layer six, - which is fine now. - I grabbed a dark red over there in the swatches, - and I made another new layer for the ascot. - So same technique. - Click drag. - It gives me a start there. - Pat's palate. - After you closed, - closed, - closed the path and go with paths palette with low path of selection. - Now edit Hill. - Excuse me. - Uh, - with the red, - you know there's a little more on the bottom. - Let's go down there. - Click, - attract, - click and drag on space bar to move your viewing area should you need to do so. - Same thing mode path this election at it, - Bill. - Foreground color. - Let's go back to my pre masked out file with cash in it, - and I'm just gonna grab his paw real quick. - I don't always use the pen tool. - Just this quick and dirty last tour will do the job just fine. - So that's on the clipboard. - Boom Control V pops in right in between a couple layers. - There No worries. - Dragon right to the top of the stack. - Grab control T to flip it around and a flip it horizontally. - With that it transformed Flip horizontal. - They control t again. - Grab a corner. - The reason I haven't vertical is I want to give a little bit into it. - I want to make it look like a fist. - So the way I do that is make a selection box around it, - then go too sheer and make these little control points inside. - Sheer lets you bend it around, - and that's as good as it's gonna get for now. - So it Okay, - then right to control t you can see the various nodes do different things. - Experiment with it. - You grab a corner, - it rotates it. - If you grab sort in the middle, - stretches it, - you hold down, - she have to constrains it. - So I need to make this pot tighter. - Fist for lack of a better word. - So I'm gonna grab the tip with the last tool. - Copy it, - paste it over Original Paul Linger. - Now I kind of to Paul layers going. - So I'm gonna grab this much tool and with a speckled brush and to sort of squish the pixels - so they blend together. - It's got a kind of to here, - so real quick. - I select both the Paul layers. - It control e and now they're merged together. - Is one layer very handy. - Oh, - you see the way? - I'm just distorting the heck out of this thing. - That's with control, - T. - But if you also hold down the control button Sorry, - I'm a PC user. - You can distort it all out of shape. - It's very handy to put things in perspective and said into the scene to try that control T - and hold down the control. - I want to give a little bit of texture to this coat. - In my mind, - I'm seeing is like felt or something like that or crush. - Build it. - Filter AG noise sort of gives it that claw. - Look to an extent, - then another one you seem use all the time. - Is this image. - Adjust hue saturation. - Make a sort of slide this around until it gets to be the color I want. - I'm thinking sort of a dark Kelly greens What I want for this Jack. - All right, - come together. - Let's make a new layer here and call shadows and I put that layer behind the lapel layer - and in a control click on the coat layer. - And that way, - when I paint, - it doesn't go outside of the mask ever right, - and then it. - Since it's behind the lapel air, - it doesn't go over the lapel That just perfectly makes a nice little shadow under the lapel - . - Gives its in depth. - I always sorted. - In Renaissance art, - the lights always sort of ambiguous. - You look at the Mona Lisa, - for example. - It's just sort of things in the foreground are brighter, - and as they roll away from you, - they sort of get darker. - So that's kind of the look on emulate here. - So same pen tool technique for filling the lapel. - What I did there is I unchecked. - I turned off the visibility of the drawing leader real quick so I could have a nice, - clean color swatch. - And then I hit I on the keyboard for eyedropper that let me grab the exact gold color out - of a lapel I wanted and then building the other spot. - So it's a lot bashing going to the swatches, - building your color all the time. - Then I control clicked on the lapel layer and moved it behind the shadows layer. - And that meant some of my shadows were now in foreground. - So once I control clicked on the lapel layer, - it was a lot easier to go to the shadows layer and then delete, - since my selection was already perfectly who made by control clicking on the palate, - someone add a few more shadows in this section. - They see what I'm doing here and grab a nice, - big, - soft edged brush and just sort of hidden it, - hitting it from the top. - And since you can't go outside of the mask, - you really don't have to worry about 7. Class project - Part 2, adding color and texture: - let's add a little more texture to the peace. - So I have these scanned existing cloth textures and I'm just gonna hit control C on those - files and then control V and then quickly controlled t I'm gonna put that behind the jacket - above the difference clouds, - layer. - I'm gonna move the difference. - Cloud layer above this new cloth layer. - Lighten up the transparency. - Now I want to adjust the colors of this cloths watch put in here using image just hue - saturation again going for that renaissance brown green gold marine Look. - And since it's two layers blended together, - you sort of get this. - Look, - I like that texture. - So I'm gonna move that new texture above the coat control, - click on the coat, - then go select in verse and delete everything else. - And now I have that same texture over the coat quickly and easily. - Let's switch that layer to multiply. - I mean, - back to normal and then go hue saturation darkened that up a little bit. - Click. - OK, - looks about right. - Gonna make a new layer here and begin to fill in the pipe using the pen tool. - So once again, - click and drag, - click and drag for the curve clip for a point. - Drag for the curve. - Quick for the point. - Drag for the curve have been over. - This is gonna be behind paw. - So don't worry about the shape down there. - Now, - here's what I did. - So I saw something look a little funny. - You can easily correct to path if you don't do it right by going to that white, - direct select arrow. - So now path slow path the selection again at it build foreground color. - What I did quick that was hard to see was a hit de on the keyboard that changes your - foreground and background color toe black and white, - which is pretty handy now I'm erasing out of the original drawing. - Don't need it anymore Consistently, - you know, - constantly hitting the Z button to zoom, - to click to zoom in and then control minus and control Plus to zoom out every once in a - while. - What I did is make a new layer, - thereby hating control J. - Or you can get the new layer icon And I'm gonna name that shadows. - Eventually, - I'm gonna get so many layers of money confused collapse. - Start naming things eventually, - but this new shadows layer is behind the coat, - and it sort of has that portrait look as if he's sitting in front of a painted backdrop - sort of renaissance style. - Fine tuning the hair a little bit, - you know, - As you work, - you're going to see things that grab your eye and distract you that need attention. - What I'm doing here real quick was a layer that's set to multiply if you want to darken it - up. - Um, - just make a bunch of copies of it and it'll get darker and darker. - And then what? - I did Waas selected all of them and then hit control G, - which put him in a group folder. - Now men, - after you certainly race out the face that crude placeholder face I have don't need that - anymore. - The since I have four layers, - I had to do it all for later. - So I just hit the e key really quick for the eraser and then using the bracket keys quickly - enlarged and reduced my brush blasted out that Troy now for the head is looking totally - pasted in. - So I'm gonna try to get some cohesion in the lighting here by using levels that's gonna - brighten it up in certain areas and darkness. - Certain areas play around the slider to get you. - What you like that Back to the smudge tool. - I quickly had this much told by eating are I think the new Photoshopped that rotates it. - But for all these years, - it's always been our So I changed my keyboard shark short cut back to our for the smudge. - Let's go back to my clipped out version at cash. - I'm gonna flip him cause I think I flipped everything eventually and it looks like I need - more neck. - Didn't get enough of that. - So grab chunk here. - Hit control C goes to the clip port. - Go over here. - It control V and always pastes above the layer you selected. - So what I did super quick was hard to see was I selected Layer 11 over there. - And then I knew it would paste right above layer 11 and right behind the head. - So I'm gonna go back into my grouped multiply layers. - That's the original drawing. - I'm gonna just quickly grab the last who tool and just deleted budget drawing in there. - They don't need any more back to this much tool and just sort of blend in the neck I have - in there now in the and the chin constantly adjust the strength of this much tool to get - just the right effect you want. - It's great for for Let's delete more this drawing. - So it is going to make a quick and dirty masks up and around. - Doesn't have to be pretty. - And then delete boom, - boom, - boom and boom Out of all four layers. - It's much tool. - It's looking pretty cutting pasty across the top of his head. - Gonna have to fix that for sure. - You may have heard cash. - Yes, - he's visiting me. - Crawling all over my lap on my keyboard is I try to get this artwork done. - Uh, - keep a little is distracting. - Okay, - so I'm gonna try to shadow in around his head That's coming together. - It's looking a little dark, - though. - Probably back that off a little bit, - but the beauty is with the history palette. - You can totally do that at any time. - Well, - smudge tool action here. - Just going to There are things in constantly turning my drawing on and off so I can kind of - get a gauge what I'm doing. - So back to the head layer. - It's much tool with a speckled brush. - All these brushes you see here are default brushes. - So a lot of us are pretty handy if you know how to use them. - Uh, - you can always see my brush just sort of going up and down. - It doesn't look like going do anything that's using the bracket keys. - I haven't mentioned that already. - And this much tool feathering out the edges where it looks Start it looks pretty cut pasty - in a lot of those spots, - trying to find just the right brush. - Do that by clicking down the fly out. - Now we get into some interesting on effect. - I use a lot if you notice at the top. - I switched the cult, - the brush mode, - actually from normal to color Dodge Tom started to tweak the opacity in the flow. - It's got to be just right. - What that does is gives it a really nice, - highlighted textured look. - Really does a good job of simulating soft light. - Obviously way too strong. - Thank you, - Control Z, - Little strong says, - working in here eventually, - Nancy is just starting up. - This is where you know, - a little bit of traditional art practice Will will come in handy. - I'm just sort of painting over highlights and dark, - so I mean, - they weren't in the photo. - The photo was not the world's greatest photo. - And all of this has to be added in to give it a Renaissance painting. - Look, - the color does just does a great job there. - You know, - the beauty digital didn't like the way any of that looked does back right over. - Um, - you know, - I have, - ah, - traditional art background. - And I can tell you that when I first discovered digital, - I just thought that was awesome. - I mean, - painting you make a mistake. - What do you either just go over it or you scrape it off? - I love being able to go back. - Excuse me. - And, - uh, - undo my work gives me the ability, - Teoh Wildly experiment. - If I don't like it, - go right back the way it waas 8. Class project - Part 3, exploring brush modes : - again with these much tool. - So let's blend in this for a little bit. - I'm really trying to feather out the edges. - At the end of the day. - I don't want this toe look like a pasted in photograph, - even though that's exactly what it is. - I wanted to look like a Renaissance oil pain. - So this much told goes a long way to giving things brushed. - Look, - um, - you can try it on anything, - and it really when you're done and you do it right can make almost anything look like a - paint. - You can go over it picture of anything and make it look like painting. - Using this technique, - let's try to substantiate these whiskers a little bit. - They look a little, - uh, - translucent, - which we don't want, - so I use a wakame tablet. - If you don't have one, - you don't have to, - but I highly recommend him. - If you're going to do any sort of digital painting or graphic design, - they're not only their effective, - they're extremely fast once you get used to move clunky in the beginning, - but in time you'll swear by him. - So what I'm doing with my way come tablet now is just brush, - stroke up, - brush stroke up their stroke up. - Now, - when it looks bad, - I just hit E on the keyboard super quick, - and he race out and then hit be on the keyboard and brush up, - brush up, - brush up and then space bar on the keyboard to navigate around and be on the keyboard to - draw whiskers down here. - So I'm just gonna wakame tablet to the right if you brush strokes. - And there we have some nice whiskers. - Typically, - the way I work is my left hand is all over the keyboard. - Spread all out doing all hitting. - All the shortcut keys in my right hand is on the way. - Contact Bleidt, - do whatever's comfortable for you, - but if you want to try my way as a start, - hopefully that will help. - Over here. - Gonna brush in. - Let's zoom in and see what I want to do here. - Um, - I think I want to do a little more smudgy. - It looks a little like a digital photograph there. - I'm gonna use my smudge tool in a speckle brush set about 86%. - And that's gonna give it a brushed brushed stroke. - Look again on the nose so keep an eye on my history palette and so you can follow exactly - what I'm doing. - So what you're going to notice there is I just did about 10 times. - You know, - I tap extremely fast on my way calm tablets. - So that registered about 20 little smudge strokes. - And I didn't like any of them, - so I just backed it all up and, - um, - tried again. - Let me show you one of my favorite, - uh, - techniques I like to use for the nose. - Let's try the brush in color Dodge mode and set the opacity about 70% and flew about 37%. - So I used the eyedropper, - which is I on the keyboard. - I selected that pink of the nose and then I just started brushing over it. - I didn't load any new colors, - but because of that mode, - it really gives a really nice sort of wet poorest. - Looked just like a cat's know this, - and it also gives a almost like layer and depth to it, - almost like it's like a bunch of layers of paint. - That depth is really nice. - Let's try this for the eyes. - I'm gonna have to load a blue here because the eyedropper isn't gonna cut it. - And I'm going to do the same thing again. - So I'm gonna use the color dodge brush and the nice thing about having a set Ah, - low opacity and low flow is that as you go over it, - the intensity increases. - So it gives you a lot of control. - See how nice that came out and let's do the other I now I'm zoomed out a lot of a little - bit. - You don't always want to zoom in down of the pixel. - It's really important that you zoom out to see your work in sort of from a distance. - You know, - with digital, - you don't get to step back. - And really, - when you paint something for really, - you get to step back six or seven feet digital. - Zoom out. - I recommend you do amount on a regular basis. - Let's continue with the color Dodge tool. - So I just did a test stroke way too strong. - So I'm gonna have the capacity and flow now really like keep an eye at the top of the - screen. - You can see me adjusting these things, - and I'm thinking, - I want to put some highlights in the left side of the head here. - Every time there's a shape change on the surface of something, - you will have a light side and a dark side. - Um, - so I want accentuate some of the shape changes on the left side of the head here that the - photo didn't capture. - I would imagine that that little cheek part where the whiskers come out of on a cat would - be brighter on with a little bit of back bounce delight. - So I highlighted that up a little bit. - Looks pretty good. - That would probably some light hitting right there. - And, - you know, - remember, - with Renaissance art in a lot of cases, - um, - the lights kind of ambiguous. - Uh, - if you have an area where you want it to look like there's a shape change, - just go ahead and hit it where you imagine the light would be Try to be semi consistent. - Otherwise your mind will go. - That looks weird. - I'm imagining it coming from the upper right. - Uh, - and so that would mean the shadows would be kind of on the lower left as you see under the - lapel, - and the light would hit it from the upper right Okay, - I'm everyone. - So what I'm like is that head in the right spot. - So I click and move it around, - and then I go, - Well, - just put it right back. - That's what I just did there. - So I'm going to come back up a little bit. - I did some brush strokes there. - I didn't like, - So let's dive right in and try to get some surface or some something of interest in this - left side of the head. - It just looks like a void. - Um, - not digging it right now, - trying to hit it with more shadows, - using that, - still using the color dodge tool. - And you know what? - It just looks like nothing's happening. - Well, - that's an easy fix. - We'll just increase the intensity, - which I just did there real quick. - I just did it again. - See if I can get the brush strokes I'm looking for. - Well, - something's happening. - It's very subtle, - I think. - For a while I'll leave that little area and work on the top here. - So back to this much tool I have that set toe are on my keyboard. - If I say things that a little redundant, - it's just because your mind remembers things through repetitions. - So every time I switch a keystroke, - I'm gonna try to remember to tell you exactly what I did. - So what I probably did there was hit control, - plus and minus to zoom in and out real quick. - Now I'm looking at where I can improve this. - Let's grab a big speckle brush, - and I think that lapel is just one flat color, - and I'm not digging it. - So what? - I did real quick that that I should explain to you, - as I control clicked on the lapel layer. - And then I had control H very fast, - and what that did is it made a selection. - But then it hid the selection Control H highs this election, - and I don't like the dotted line around my selections. - In a lot of cases, - it's very distracting. - So I also did something new. - I changed my brush mode to color, - burn and change my color to black, - so color burn does the opposite of what you would expect Color dodge to do so here. - What it's doing is giving it this lapel, - this nice crushed velvet appearance, - starting to add a little more texture in these things. - And now the just drawing in that area isn't really needed. - So I'm gonna delete a lot of those extra draw extra layers I had for at one time. - If you remember, - I'm down to one now, - and I'm just going to start erasing out of that drawing part that I'm not using. - Eventually, - as you can figure out the drawings just gonna disappear altogether. - Let's use the color Dodge tool to great effect in the Ascot. - So again, - I did that little trick I control clicked on the ascot layer, - which is layer seven. - And then I immediately hit control h. - So there is a mascot going on there. - It's just hidden. - And this way I can just brush on the top areas of things. - Let's switch it to switching my brush to color Dodge. - Sorry about the delay. - There we go. - And just start brushing it in. - Now, - since I have a mask there, - I don't go out of the lines just like a coloring book. - And it and the color dodge effect works just fantastic on things that are kind of shiny, - like silk or even metal on a car or, - um 9. Class project - Part 4, adding bright highlights and deep shadows : - it's a kind of ah, - well, - sparkly Look here, - I'm I'm still like thinking. - Is that head in the right spot moving the head in the neck a little bit? - And I think finally, - I like it where it iss it's He's hunched a little forward, - which is a little more natural. - Once again, - I did a control click on the lapel and then hit control age to hide my selection. - Now I'm grabbing a brush tool that's colored dodge this time, - and with the bracket key, - I am enlarging, - enlarging the size of the brush quickly. - Let's try color burn. - Rather here I am, - hitting it where they would probably some shadow in real life, - especially between Ascot and the lapel. - And I'm continuing to hit this lapel with a splattered brush color burn mode at low opacity - on low flow. - That's giving it this crushed velvet look for the eyedropper. - You saw me just grab the color. - I switched a hit I for the eyedropper than just grabbed a white right out of his face or - more of a peach color, - and that loaded my color. - And then I go right back to what I was doing with color dodge. - It's a lot quicker to use the eyedropper by hitting the I key on your keyboard than it is - to constantly load color swatches all the time. - You can get going really fast. - Remember, - you wanna reduce the obstacles for your creativity. - So this time, - because it's such a bright color, - um, - three color Dodge tool is really given a really nice highlighted looking. - It's starting to really come along with that appearance of a semi shiny crushed velvet look - , - which is exactly what I want again. - I'm just sort of imagining the color coming from upper right, - and it would just sort of highlight the tips of these lapels, - and there would probably a little bit of bounced light down there. - And another thing that gives your work more interest is is light and dark contrasts. - So what we see on the lapel is I'm highlighting the tips or the top of the lapel and then - right to the left of that boom and hits the dark shadow that really makes the lapel look - like it is in the foreground. - Always try to remember this is in front of that or this is behind of that or behind that. - So if you keep that in mind, - that will help you when you decide your shadows in your darks, - for example, - even on this ascot, - that little not that little end of the not that sticking up is actually in front of the - rest of the Ascot. - That's behind it. - So at some point I'm going to make a shadow that shows the dis the difference where one is - in front of the other here again with the color dodge tool. - Just really fantastic it bringing out the highlights in that in that red. - Ah, - Scott let me racing out the drawing now. - I don't need it anymore. - Everything's kind of in place and could excuse me going to continue to brush in color. - Dodge highlights There's to be a lot of little wrinkles in a scarf like this. - If it helps get one and fold it up and said it in front of you and learn from observation - and look and see how it I would fold and get ideas. - Um, - that's one way to do it. - A crazy idea, - actually in digital is if you want Taiwan around a friend's neck and take a picture of it. - I mean, - the old days you always had toe set something aside and look at it and and use all these - crazy measuring techniques. - And even in the Renaissance, - they use grids to always get everything on exact replica of what they were looking at. - But that was before Photoshopped. - So, - you know, - I don't really see any reason why not. - To just take a picture of something and incorporate in your work and then paint over. - I mean, - whatever works, - whatever gives you the effect you want, - there really are no rules. - So what I just did there was just grabbed the freeform last see tool. - If I don't have to make an accurate mask, - I just hit it. - So here's where I was telling you before about Always try to remember something is behind - or in front of something else. - So here that top part of the ascot is from our I, - from our perspective, - is in front of the bottom part. - So how do I make it look like it is? - Well, - boom, - just make a little mask and hide it. - See, - I hit it with control age. - It's still there, - but I can't go outside of the mask. - So I grab a big soft brush pain in sort of right on the barrier where it would end Begin. - And you get this really nice soft shadow right in under there. - A lot of times I put shadows on their own layer, - but in this case going to keep it. - I'm gonna pay them right on the ascot because I want to be ableto smudge them together. - And you can't see much things together if they're on different layers together, - immersion together so you can start to see this. - Uh, - the highlights and the shadows are really starting to give the forms in this piece a lot of - depth, - especially in the scarf. - Here. - That color dodge tool is just so nice. - As you can see again. - As I go over it, - it just gets more and more intense. - It starts out sort of semi transparent and askew. - Go over it, - it intensifies. - And if you're using a tablet like I am, - it really gives you a tremendous amount of control in a tremendous amount of variety in - your brush strokes automatically. - I mean, - just the nature of the tool and variety is what's gonna give you work more interest and - make it look more professional. - So, - as I said before the contrast, - So here there was a dark shadow there which made it look like the top was in front of the - bottom. - And then I hit it with a red highlight right by the dark shadows. - So he had a nice light and dark sort of dance. - Some people call it, - and that gives you work more interest in more depth. - What I'm trying to do here, - since I'm working from imagination at this point, - is just imagine where the shadows would be in the increases. - As the light hits this ascot. - Of course, - it's gonna highlight the folds that are closest to you. - And then the deep creases are going to get pretty dark, - and you always want to have a good range of light darks that's always gonna gonna give you - work more depth in a lot of cases, - area I'm just continuously working in the color dodge tool. - It's great for wrinkles trying to make this look like a folded, - uh nodded up ascot as it would be really tied around someone's neck. - Now I'm going from imagination, - and this is looking pretty good, - so I'm not too worried about it. - But if you're really struggling, - sometimes cross cloth can be tricky. - Just find some pictures on Google. - I mean, - don't don't rip anybody off, - but you can have something open and use it for reference as long as you know you're not - recreating the work and infringing on anyone's copyright. - But, - you know, - that's the nice thing about digital. - Just banned within a couple seconds. - Get about 20 pictures open on the Internet just by doing Google search of scarf, - you know, - right off the bat in a seat. - Uh, - the way wrinkles fall in cloth normally and help you with your work. - I used dual monitors mice highly recommend those two you can't see here cause I can only - record one monitor, - but I have lots of reference photos always open on my different on where the monitor just - going back and forth for reference. - I'll tell you that a lot of people think that that's cheating or something like that, - but it really is ridiculous. - You know, - all the most most of the most famous artists in our history of use something for visual - reference, - you know, - great illustrators like Norman Rockwell of you ever see his paintings? - He's just got nothing but actual photos clipped and taped all around his his picture frame - as he painted in their of actual little girls and postman dressed in costume of these, - he's really modeling photos quite closely. - So, - uh, - you know, - don't don't think you always have to work out of imagination. - A lot of times you can create great work using whatever tools, - get the job done. - That's what I do. - Whatever gives me the results I want. - Okay, - so I'm switching to call her burn tool. - I'm gonna try to get some shadows. - And I think the ascot is far from done, - but I like to switch around. 10. Class project - Part 5, creating smoke : - All right, - let's get some smoke coming out of that pipe. - I envision sort of this cool fantasy smoke coming out of this pipe. - Kind of like the chest tired cat from Alice in Wonderland. - So let me show you how we do that. - Basically, - Onley two tools I use will give you the smoke effect. - So I made a new layer and I just used the standard brush in standard mode and blocked in - some blocky shapes. - And then I reduced the A pass ity of this smoke layer to about 26%. - Now, - I switched to the smudge tool again. - But this time I'm not going to use a speckled brush. - I'm going to use just around soft edged brush at about 86% strength, - and you can see right off the bat how this smudge tool really does a pretty good job of - emulating the look of smoke. - Basically, - you block in some pixels with the brush tool, - so here's brush tool by hitting be on the keyboard, - just blocked some things down and in kind of the area you want it to be, - then switch to the smudge tool or are on the keyboard I have mindset toe are and just drag - around. - What's neat about it is it sort of starts dragging the pixels, - um, - with a lot of strength in the beginning. - But then the strength tapers off as you elongate your brush stroke. - You can see this is kind of a resource hog. - So my computer is a little slow. - I have this a really high DP I artwork. - So it looks like it's painting itself sometimes, - But it's really just kind of catching up and just continue to smudge around now. - It still looks pretty crude, - but some parts look pretty dang good already. - We're just gonna keep smudging this around now. - The only drawback I would say to this technique is it's fairly time consuming, - and for that reason I'm going to get to a certain point and then just walk away from the - smoke and switch on other things. - And then at some point, - you're gonna magically see it all done and looking good. - And that's because, - uh, - you're not gonna get any value. - Watch me use the same tools over and over again. - You get the idea and I don't want to lose your interest. - So we'll work on this a little longer and then work on other parts of the painting. - Now I envision this filling up sort of the space around the subject. - So it's gonna swirl around his arms and come up over his years, - maybe in swirl over his shoulders. - And especially I'm gonna work in that lower left corner because that is extremely boring - right now. - There's nothing going on there. - He should probably even have some sort of at least highlight of his left arm or his right - arm, - actually, - But I'm not going to kill myself on that part right yet, - because in my mind that's gonna be largely hidden with either shadow or pipe smoke. - Here you can see me swirling a smoke around. - This is an opportunity to add thean impression of shape in certain parts. - See, - we all know that arm is round and with the smoke now, - every opportunity you get to sort of, - uh, - emphasized the surface texture of not really a texture, - but the surface shape of things. - Take it so if if something's round, - have the smoke go around it, - be around. - If it's a texture, - have it follow this shape of the surface. - It really helps give your work depth and give it a more professional look here, - I'm adding in some more, - uh, - pixels. - These air just plain old white pixels. - The layer, - actually, - though, - is set at about looks about 26 36%. - Um, - this gives you a lot of flexibility. - If you want the smoke toe look more intense than you, - just pump up the opacity of the layer. - If you want to look really faint, - you just lighten up the capacity of the layer and this much tool, - especially when it goes over itself. - It looks pretty good. - One of the best ways I've seen to do, - uh, - smoke. - Now there's brush packs of smoke like if you go on a DVR, - it's one of my favorite resource is and just search their brushes and put in smoke. - You'll find a bunch that some people have done an incredible job of making some. - I don't know how they do it, - but they make these perfect masks of smoke with nice soft edges. - But if you really want to give you work a signature style and you don't want it rely too - heavily on that stuff like in this case, - this is gonna has a particular sort of fantasy needs renaissance. - Look, - um, - so But I didn't want to use those brushes because it just didn't have the look I wanted. - This is a way to handle your smoke. - Let me give you another tip. - This is great for fire. - Um, - you want to use fire, - just use block down some orange and red pixels and maybe I don't know, - a little bit of blue in there. - Start grab a big, - fat, - soft edge smudge tool brush and start pulling it out. - You'll get some nice fire looks. - It'll kind of look like fantasy fire, - but, - um, - I've used it a lot, - and I really liked effect. - Okay, - let's take a break from the smoke. - I'm really feeling that it needs some backlighting. - So I just What I just did is grabbed a nice big soft brush and in just a big boom blabber - yellow back light right off the bat. - I like it. - It gives a depth. - It adds that little light and dark dance. - I said before, - between the dark area, - the shadow area of the head in the background, - and it's already looking better The reason that weird hard line just showed up is I just - grabbed the layer. - I hit the Wiki, - which immediately switched to the pick tool and at the top of the toolbar and has moved it - . - And then I had the e key for Erase to erase that hard line and give it a soft edge. - Then I went back to the wiki and moved it. - Now I'm back toe image. - Adjust hue, - saturation, - and I have this difference cloud layer that I made weighing in the beginning. - It creates that kind of cool brush. - Look, - I think I'm gonna duplicate that layer. - Drag it to the top of the stack. - Let's see how it will look in overlay mode. - Nice. - So what that's doing is it's continuing to give it depth and texture. - It's just a little dark, - so I'll just go to image adjust levels, - play around the sliders until it gets brighter. - And I think I turned the opacity down a little bit, - too. - I don't want it to strong just just subtle. - So I need to add some highlights now that I have that back light I put in there, - there would be a little bounced light on his shoulders. - So I'm gonna control click on layer for which is the coat layer. - And I'm going to switch my brush to color dodge mode and just hit that layer. - You can see there's a nice little bit of light just starting to come over his shoulders. - And now it just occurred to me that his paws just sort of floating out there. - And I did in my original drawing, - which I see there half a silk sort of cuff coming out of his coat. - So again, - with colored dodge, - I just I drop heard the ascot. - Why go to the swatches? - And I'm just painting in some basic shapes here, - continuing with adding red color, - and I probably blend that in and a little bit. 11. Class Project - Part 6, adding in fine details : - Okay, - I'm going to try to give this Pau some more highlight and more depth. - So first it looks like I need to kind of smudge in. - It's pretty crude. - So I need Teoh. - Use this much tool again. - Toe get nice feathered edge that doesn't look so cut and pasted. - You know, - no hard edges. - Hard edges are typically not your friend on digital painting. - So there I control clicked on the Paul layer that made an instant mask of all the pixels in - that layer. - Then I went to the color picker. - Now that I have that yellow light, - the background, - that's a little yellow A need to kind of bear that in mind. - When I do, - my highlights should be little bit yellow. - So this is a little bit strong now that I look at it so I'll just try to smudge it in a - little bit again. - The same combination of brush and color Dodge. - I mean, - actually, - in this case it looked, - my brush is set to normal. - I think it's I just thought I needed more stronger light there back this much start to come - together here a little more around the Paul. - There It certainly looks way better than it did just with a little bit of highlight on the - top and, - yeah, - spa blending in the various, - for course, - back to the speckled brush Now, - because especially for for it gives a nice little impression of what ended individual - strands. - So you I real quickly adjusted the strength. - It was a little strong. - Sometimes higher strength on the smudge tool is better, - sometimes worse again. - Control, - click on the Paul Air and just go right on the outside. - This time I did use color dodge and again control. - Click on the cochlear. - I don't always use control leads to hide it. - It's just a matter of preference. - So in this case, - did not use control. - H. - I'm just trying to hide their control each to hide it. - Now control, - click on the head layer and control each to hide it. - That will just works really slick. - Everything is within the mask. - There would be a little bit of light years or pretty thin skin, - so I imagine there would be if there was light buying his head. - It would be a little bit of light coming through its here. - There. - Yeah, - definitely a little bit of cast light on top of his head and, - you know, - remember that the whole head is selected Now there's a mask around that by controlled. - Clicking on the layer is just control it. - So it's hidden. - Same thing control. - Click on that layer. - I'm gonna make a new layer here. - I just said it normal because I'm not quite getting the highlights. - The need I need, - Ah, - a new layer for that. - Starting to get some of that balanced light from that yellow light I put down there. - Well, - here's just the first time. - I've sort of hinted at the fold in his jacket. - It's one of those high scarf Are high collard coats, - thick coats from that time period? - Um, - no, - my clothes may not be accurate. - This is a fantasy piece. - I'm just looking at things for a reference and on a color dodge to code a little bit there - . - That void is just too cavernous and just disappears. - Then that gives a little a little more depth there. - There would be a little bit of light hitting his chest on that side. - There's a few brushstrokes they don't like, - so I'm just gonna back up, - go to normal color dogs. - Just wasn't quite giving me the strength I needed. - Just hit that other shoulder a little bit. - Hit that arm a little bit. - Now it's starting to look a little more like you've got a body and he doesn't have a - floating paw that's attached to nothing. - So what this cuff really needs is some depth. - So, - as you know, - uh, - a sleeve of the shirt is hollow on the inside, - so let's make it look hollow. - So I'm just gonna grab the last suit tool. - That's the L key, - By the way, - I'm just gonna points, - um, - pain in some pretty strong black. - Here we go. - Nice. - And that sort of makes the pop pop into the foreground. - Remember what I said about? - Always try to decide this is in front of that or this is behind of that. - So we have to stay in our mind. - The paw is in front of the whole moments leave. - And we also have to say that trim on the scarf, - that red trim is actually in front of the whole in the sleeve, - too. - So we want to try to bring things forward and push things back. - And that's done with highlights and shadows trying to now it's much of the sin And - obviously, - and I'm enough strength and mice much told. - There we go. - Nothing was happening for a while there, - I think all this. - Here we go. - I just brush it instead of trying to pull that. - Read those red pixels that well, - just brush him straight in. - Now, - this scarf was really red. - Uh, - and the lining of his if he was wearing a shirt, - it was red silk or satin under is, - um Excuse me, - sleeve. - It wouldn't just disappear into the black like that. - With a hard thing like that, - it would kind of gradually fade red into the black. - So trying to get this set up just right, - we can get that look. - Okay. - There we go. - Yeah, - that needs to be a little dunker. - It can't be the same red, - obviously. - Okay, - so that when they're trying to make that look like it fades into ah, - hole, - which is basically what the inside this Leavis. - So it's gonna be and typical of Renaissance art. - Whatever is closest to you, - uh, - is brighter. - And whatever's farther away, - just sort of goes into these shadows, - so it's still pretty crude. - But over kidding, - That's that's the smudge tool again with a very big, - hard brush that right now I'm not really trying to blend anything. - I'm just trying to push those pixels in so it looks like a ruffled sleeve pulling out - pixels push in pixels. - You know it's all on its own layer, - so you probably already know this, - but it's worth repeating that nothing on the other layers are gonna be affected. - So again, - control, - click on that layer and then instantly control H. - So the mask is there is just can't see it Now. - I can hit that edge with a bigger brush and a brighter red brush and not have it go outside - of the mask. - Just stay right Nicely need within that group of pixels that's coming together, - just gonna switch right to a black eye. - What I did super quick there was hit D on the keyboard that immediately reset my colors to - black and white, - and another real quick help is hit X. - So X will actually ta go your foreground in your background colors very quickly, - continuing Teoh shadow in a little indecisive about how to make that look better. - Let's just take a stab at making that, - um, - Paul look like it's disappearing into that sleeve. 12. Class Project - Part 7, advanced masking and detailing: - Let's add some cool piping to this lapel. - So we do that by control clicking on the lapel here. - That's gonna give me a mask of all the pixels in that layer. - Then go to edit stroke inside. - Let's try six pixels. - Perfect. - And I didn't put the piping on its own layer, - By the way, - um, - modify contract. - Uh, - 10 pixels did like nothing. - So let's try that again. - Modify contract. - Let's try 50 pixels. - Perfect. - Right on the money. - So let's do edit stroke again. - Nice. - Okay, - Now we're gonna erase out the areas I don't want. - I want you to notice when I, - um Okay, - space, - part moves base part of move E for eraser. - What I was saying was I want you to notice that when I zoom in, - sometimes it really quick right into the perfect spot. - I'm hitting Z for Zoom, - and then I'm dragging a marquee around the area. - Wanna be at so more or less like driving a box and then let go and it zooms right into that - spot. - So here are with the race, - so e for eraser. - Tap that on the keyboard there wouldn't be any piping here. - Maybe a smidge there. - There wouldn't be any pipe in there A little bit too much undue Control Z. - Thank you. - Let's see Race in here. - Yeah, - uh, - and hear that A little crazy on the racing, - so I'm just going to be back in. - But let's name this layer piping, - uh, - instead of just let your back be for the brush and I need to hit extra toggle. - My colors cause reds my background color. - So you see that in the toolbar backup, - If you need to. - Hitting X toggles your foreground and background. - I also just figured out that my piping was behind shadows layer. - So I need to get the piping in front of the shadows layer if that's going to show up. - So we had to draw some piping in here or it didn't make it. - Then I'm also going Teoh have the intention of filling inside the piping a different color - . - So I'm gonna do is close off this region of pixels and then hit the want to all right in - the middle of all of that and then make a new layer. - And that's going to be a cool contrast in color in that area. - that you'll see. - Hopefully, - it'll look cool. - So here I am, - closing off the pixels there. - It's hard to see because they're behind head later. - But I did. - Yeah. - All you gotta do is close the loop there really is closed. - Close. - So now, - inside those pixels, - when I hit the wand key, - they're want click own inside, - and then hold down the shift key to out of your selection. - Now, - make a new layer and edit. - Fill that with this Kelly green color. - There we go. - Now I'm gonna play around with the color modes here. - I don't want it to be semi transparent, - sealed, - multiply its color. - Met. - Um, - let's see. - Oh, - multiply and then back off the capacity. - That's looking pretty good. - Now back to the piping layer. - I don't need it to be a closed group of pixels anymore, - so I'll probably erase out that extra in time. - Um, - try and buy prints. - Nothing there, - you saturation. - I'm thinking I don't like the red. - A good rule of thumb is mostly cool in a little warm or on the opposite. - I ops aside, - mostly warm and a little cool with your color schemes and greens kind in the middle. - But I'll just say it's cool for for this, - uh, - sake of this explanation. - And then So what you're gonna see is mostly green here and about 10% red works well. - So now I have piping area selected. - I'm going to just the piping is selected. - Those strokes we made, - it's all selected, - but the mask is hidden, - which I do a lot. - And so that way I can just hit inside that mask with a dark green for the shadows, - and it doesn't go all over the place. - And now, - for highlights, - I can paint inside that hidden mask using the color dodge. - There we go. - Just switch the brush mode to color Dodge. - Nice highlights. - Nice. - That sort of ambiguous renaissance. - A soft light. - This just sort of hits it from the front on the upper right area and plus, - remember where there's a surface change. - There's a light change, - so I want that piping to look like it's a little bit in Bost as piping would be. - It's like the tiny little two cloth rolled tight sewn in. - So here I'm going back to the shadows powered. - I'm gonna take a break from the piping work on the shadows a little bit. - There we go, - starting to take shape. - Now it's funny. - I work on the head. - Then I go to the Paul. - Then I'll go to the scarf. - And, - you know, - if you use my technique, - it might be benefit. - Benefit. - You basically what? - That What? - That allows you to see a region with fresh eyes. - I call it fresh eyes. - Sometimes if you work on a piece a long time and you don't even see it for three days, - you feel like you're kind of in a mental block. - With that, - you're like, - Oh, - I'll just fix this part and just looks beautiful. - It's kind of like that. - You can kind of use the fresh eyes technique in the same artwork and keep going. - Just switch around from spot to spot. - So, - for example, - I haven't really We used worked on that lapel for at least the shadow part for quite a - while. - I just did other things. - And now that I I saw this shadow party lapel of fresh eyes, - I just said, - You know what? - It would definitely have some shadow there, - so work on different parts of your piece. - Don't think you have to have the eyes absolutely, - flawlessly perfect, - and then move on to the nose. - Just bounce around. - It will give you a fresh perspective. - More shadow work here. - This is at this stage. - It's really starting to come together. - You can see that the the shadows just go a tremendous a long way in giving things form. - I'm imagining his head would actually cast a little bit of shadow on the lapel. - Always remember that forms can cast shadows onto themselves. - So, - like your arm can cast a shadow on your on your belly or your ear cast a shadow on your - cheek. - Um, - sometimes when your first start digitally painting, - you think, - Oh, - it's just like my body cast a shadow on the ground and that's it. - Not true everything that the light blocks cast a shadow upon itself, - and I kind of have this loose upper right corner. - So in that case, - his head would cast a shadow on the pill, - and when I did it sort of feather out that lapel with smudge tool. - So it looked like a first shadow, - not ah, - hard shadow 13. Class Project - Part 8, making custom brushes : - Okay, - Fast forward a little bit, - and the biggest thing you'll notice is almost all of my layers have been merged together. - It was auto name was layer 17 there in my layers palette. - At some point your work, - you might want to do this. - It's a big advantage to you. - You can smudge things together. - You can paint over it without having to navigate through a zillion different dang layers, - and it works a lot like a traditional painting would be on one piece of canvas, - so seeking sort of switch gears there. - You can also add new layers. - Still, - this point, - if you want. - For example, - I want to add some highlights to these eyes. - But I don't want to do it in my original air because I don't wanna destroy any of that nice - blue white. - True, - typically all merged layers together and make new ones that merch those together. - Then make new ones, - Then merge those together. - It's sort of ah, - my personal workflow. - It works great for me. - I just giving it a try. - There we go. - You get the idea. - Okay, - let's make a custom brush. - So I have this clip art floral pattern and our we have open here and I want to put a dollar - sign right in the middle. - That's so his type tool and a dollar sign times the Romans fine type. - Now hit the pick two up in the top of the toolbar control T to transform re center. - Now I'm thinking I definitely don't want these butterflies in the pattern. - So hit l for last suit. - Drag around it. - Delete key l drying around leaky and driving around Delete key and then control de to de - select. - Now it's grabbed the Juan tool and select everything outside of floral pattern. - Now select in verse in verse. - There is now Head it, - Phil. - Foreground color. - Cool. - Okay, - so let's zoom in a little bit. - Put a white stroke around eso control. - Click on the S new layer behind movement behind. - Select Modify. - Expand 20. - Yeah. - Edit. - Fill our select modify Expand 20 again and edit filled with white. - Here we go. - I'm thinking I don't want this flower of period there. - Some grab the pen tool, - click, - click and drag around. - So grab the old key. - Hold on all key, - and that switches it to move and then correct to correct path through quick like I just did - a path slow path selection and clear. - We owe what? - Center that up a little bit. - And I'm gonna mirror image all these. - So I get it right about there and then m for a marquee drag. - Delete well down, - uh, - the than all key and drag to duplicate it, - it transformed. - Flip horizontal. - Let's get together and then merge those two shift select both control e. - I wish it a little bit now. - Hit v Alton and drag real quick to duplicate. - Layer the bolt and drag. - There you go. - Control t to rotate. - I'm just trying to add more to this pattern. - It's a little sparse right now. - I m to drag Marquis, - delete that I got one little swirl here, - but so we could do with that control t put it in the spot. - Okay. - The altar in drag to duplicate it transformed horizontal. - Let's merge those two together. - Select both players controlling delete some of these garbage hanging pixels. - The old drag control t to rotate it The wiki hold on all key and drag at it, - transformed with horizontal and bars those together controlling we're getting a decent - looking pattern going on here, - Control e all those together emerge to meet some of these junk pixels and for marquee. - Now that white stroke I put on a layer I wanted deleted that the back real quick Now - emerged all this together now control a and it defined brush preset. - Here we go. - So decorative dollar sign. - Now we have since it's already on a layer, - though I'm just gonna drag this layer right over into our working are there pops in really - big but control T to re scale. - It's on its own layer. - Now rotate. - Just trying to get that looks. - Gonna probably take some massage in here to get this right spot. - So hit the wiki, - hold down the bulky and drag the layer. 14. Class Project – Part 9, exploring layer embossing styles: - Let's put our new brush preset toe work. - So I've made a new layer and clicked twice to get new dollar signs. - Then, - with that layer, - back it off a little bit. - If I control, - click on that dollar sign layer, - then select the main body artwork layer, - then control age to hide my layer than control C and Control V. - I'll have a brand new layer with pixels. - It looks totally invisible, - but it's there of the original velvet pattern. - Now, - with that, - I can go to the layer layer style palette and play around with the tools. - I prefer pillow and boss for things that look like embroidered, - but some some of the things might look better. - Let's put a yellow stroke on that and see how that looks. - That's getting there. - Let's try different color modes. - Let's try. - Let's get overlay. - A try that looks That's interesting. - It almost looks like gold foil. - Um, - what I do when I if I see a layer style, - I like, - let's say Drop shadow or bevel on boss and I just want to keep it that way. - I make a new layer and merging together, - and that sort of fuses together your special effects instead of it. - Always being in drop layer are drop shadow motor bevel of boss mode, - which can look really weird if you start painting on that layer or racing out on that layer - . - It's really handy to just ah, - handy way to, - uh, - keep so to speak your layer effects by merging it with another layer. - A little fine tuning here. - Ah, - it's getting there. - It's hard to see, - though, - so I'm thinking maybe, - um will darken it up. - So let's go to, - uh, - not levels might want to change the color, - too. - So image adjust hue, - saturation green. - Mike Weinstein Not not feeling that nice to be able to experiment like this. - There we go now. - I zoomed out a little bit. - That helps me sort of see the everything in context. - And then I zoom right back in, - like in the patterns, - like in the layer mode. - Try it a stroke again. - It looks a little just pasted on there. - That's interesting to back that off a little bit. - Let's work a little more on these dollar signs on the lapel when a zoom in a little bit hit - the Z key and click, - click, - click Now am for marquee control. - T grab a corner. - Hold down the shift key to constraining proportions to re scale looks good hit. - Enter hit control de to de select. - Let's go to the other side. - M for a marquee control T grab a corner to rotate will down the shift key to constrain - proportions. - Hit Entered a select control de de de select. - I'm still thinking now that don't quite look right. - So let's play around the layer moves a little bit, - so switch that overlay. - Now it's duplicate that same layer. - And let's try a different mode with the secondly or soft light now looks good. - So and I got two layers ago in one overlay in one soft light. - Let's play with the image of just Houston hue saturation on the soft light layer and on the - other layer that's getting there. - Let's do a little more, - um, - pillow and boss on overlay layer. - Change that highlight from white to yellow because there's kind of a yellow Castlight in - this image. - Back off the capacity with these little sliders. - Okay, - zoom out a little bit with control minus, - and I'm still kind of playing with the modes they control Z are rather Z to zoom in and - let's merge those two layers together, - if possible. - I tried to merge them and it sort of changed the look. - So I still have this overlay and multiply layer for the dollar signs. - So I'm urged him there. - Let's try all of that as overlay. - That's looking good, - Good and notice. - When I merged those two layers, - that little F X icon disappeared from, - um, - the layer that I had the pillow on boss on. - And that's a handy thing to have, - because that means you can erase and brush to it without having it constantly be pillow and - Boston sort of merges three effect together. - So let's create a selection here and just save this selection because I want to use it in - the future. - So make a selection with the pen tool, - then go to select save selection. - Now lame. - Name it lapel. - Now we can do select it and not worry about it because we can use it in the future. - What I want to do is add more decorative and bossing in the areas that are blank, - but I don't want to keep repeating the dollar sign. - So let's go back to that file we had open where we made the dollar sign with Go back in - history, - a little bit tool. - We just get to the floral pattern. - There we go. - Now, - in this case, - I'm gonna delete the dollar sign and or at least turn it off. - Now select what I see here and go define brush preset again. - Gonna make a new brush. - Let's name this floral look. - OK, - now hit. - Be for brush. - Find it in your brush selection palette. - There it comes in really big, - so just hit the left bracket key to reduce the size. - Let's make a new layer. - Money's yellow as my foreground, - and I need to have the brush this additional brush palette open so I can rotate the brush. - Here we go because I don't want it to be straight up and down. - I wanted Teoh be on a side. - Follow the flow of the lapel now control T. - Let's squish this in a little bit and close the brush palette. - Let's change this toe. - Multiply now. - It's not looking right. - Overlay overlays. - Working, - uh, - soft light soft lights. - Working about the best right now, - So Control T. - Now, - if you hold down the control button and grab one of those nodes, - you can distort it really real slick like that. - So I went to select load selection load are lapel selection, - and there it is. - From before then I did select in verse, - which selected everything outside of the mask and then just hit delete real quick. - So that's looking pretty good right here in this section. - I just I'm going to use control t and then hold down the control button to sort of make - that part look like it would roll away from your eye as it would if it rolled in under the - jacket. - Looked a little flat there. - So again, - control t get where you want it, - then control de to de select this part here needs a little bit of pulling out. - There we go. - So control T and then hold down the control button toe distort by clicking on those nodes - or control bars. - We got some pixel fragments here. - Artifacts. - Let's clean those up. - All right, - zoom out. - That's not looking bad looking better than before. - Still not quite right, - though trying to get it to match the same look of the dollar sign embroidery. - So I think I need to switch it to multiply mode and then darken it, - using images, - just hue saturation. - So what I did there was control. - Click on those on the floral pattern, - then high the selection. - Then make a new layer by copy, - pasting that exact group of pixels from the lapel and then paste in it, - which made a new layer just like we did before. - And then I switched that layer to multiply. - Now I'm going to use the Pilla pause again. - Let's get in there. - Doesn't quite look like embroidered velvet yet, - but, - uh, - we'll get it. - Try a different layer. - Most looks just right. - I noticed the little FX Ah, - icon on the layer. - That means pillow effect is active and then notice me, - select them both and then merging together. - I still have the the look of the pillow effect, - but now it's not a special effect. - It makes its just fuses It together is normal pixels, - and that makes it easier for me to be race and brush on it and change it around. - Urge again, - control emerges layers 15. Class Project – Part 10, creating an emblem : - Let's work on the pipe a little bit, - so I'm gonna close some of these extra files. - I don't need that anymore. - That defined brush file and let's zoom that in so you can see this part still, - as a significant amount of the drawing left in it. - We'll leave that for now. - That's gonna help us. - So I want to put an emblem on this pipe. - So I grabbed the marquee. - Tool the oval and make a new layer than edit. - Fill a foreground color. - Now let's use my dollar sign brush. - Hit the left bracket key to reduce the size. - Make a new layer and click. - I don't really want white, - so I'm gonna undo that. - Grab a brown color, - move the opacity and flow up to maximum. - Now control. - Click on the oval layer. - Make a new layer, - go to edit stroke about six, - and that's gonna give us like a metal frame. - And now with this, - let's turn off the drawing layer. - Now this metal frame around this emblem will go to Bevel and Boss. - Move the angle of light from the top, - and let's change this to a pillow on boss again. - Click OK to save Make a new layer Merge those two together Now my pillow and bosses has has - become rast arised pixels Oh, - I need to control Click on the layer there Now I can paint without my brush strokes - spilling over the rest of it The mask is there is just hidden with control age. - So now just toggle between a light colored a dark color Hit it with some highlights a tsum - shadows. - Let's go back to the black Oval. - I want that to look like a dome. - So I'm gonna do that by using one of these bevel tools Image Adjust, - you saturation. - I need to lighten it up a little bit. - Otherwise the shadows won't show up on the bevel in Boss Goto bevel on, - boss. - There we go. - So start sliding. - Ease up and you can see how this is a real quick and handy way Teoh give it some surface - and I'm also gonna help it along a little bit by hand painting. - So control, - click on the oval that makes the mask for control quick on the layer that has the oval in - it. - Let's make this look like shiny. - So to make something look shiny. - Grab a hard edge brush and then back off the opacity a little bit. - See there. - It just kind of makes it look like it's got some highlights. - My brush strokes. - For a little wonky, - try again. - So control quick on the layer that has the oval in it. - Contracted a little bit. - Let's try it again. - Now it's hidden. - The mask is there. - It's hidden, - and you can just gently brush right outside that mask and have the brush just sort of peak - right in there. - The thing is, - it's just contracted too far. - So even though it's hidden, - there we go. - I expanded it a little bit by five pixels, - and that made the over a little wire. - I'm just hitting it with some hot spots. - If it was shiny, - then there would be some hot spots there. - Let's grab a hard brush and put in a couple streaks. - Not those didn't look very good, - so just undo those and I'm gonna hit this from a distance. - Now, - sometimes working zoomed out really helps toe see better actually. - So here I'm still working within this hidden mask, - hidden in with some hot spots that's coming together. - Let's work on the dollar sign. - I want that to look like an emblem to so I haven't selected, - but the selection is hidden with control H So I'm just gonna hit that with a darker brown, - give it kind of this brassy look and then punched the colors up a little bit That's coming - together. - Someone emerged the dollar sign, - merge all those together and sort of squish. - Um, - sideways cause on oval in perspective as it rolls away from you would be skinnier. - I don't want to look like it's basing right at us. - I want to look like it's on the side of that pipe. - So here I was ableto quickly select the pipe player and trying not gonna try to make this - look oval. - So when hit control age to hide it, - hide my selection and just start doing my best to paint in like this, - I re texture. - So there would be a splattering e brush with light Oh, - pat with about 54% capacity and then between the colors of gray, - white and black and adjusting this opacity and flow sliders and just keep brushing out. - It should be able to get something that looks fairly convincing. - And once again, - the nice thing about the flow of opacity is that as you go over your breast ropes, - it gets a little darker, - but in a real nice, - layered way. - And also the reason I can just paint so nicely on the white and not have my brush strokes - spill over into the green there is because I have a I had a selection that was hidden. - So once again I'm going Teoh tryto grab them Oval tool and I wanna make that look like - there's a bit of a devil on the white on the on the ivory. - So when adjusted levels, - of course Onley, - everything inside the Mass is going to be affected now control age to hide that oval and - select inverse Now control H again. - Now I can lighten the outside of the oval. - A little hard line isn't looking very painterly. - That's better. - Okay, - All right. - Verse every time hit, - select, - inverse or select Modify whatever your control h becomes visible again. - Here we go. - So I kind of, - um, - hosed myself and lost my perfect little wine mask. - So I'm gonna hit the one hit all the white, - but see how it spilled over in the paw. - Just hold down the old key and draw another mask, - and that subtracts out of any sort of wrong mask you made. - So I'm gonna save this selection now as pipe. - So that doesn't happen again. - Now it is still selected, - but with control H, - everything will be painted only inside the pipe. - So now, - Aiken, - go crazy and not have to worry about any of these brush strokes spilling over into the paw - for the scar for the background. - Just keep brushing it in using light capacity and light flow until you kind of sort of get - that ivory look all right, - coming to get it. 16. Class Project – Part 11, adding depth to your masterpiece: - All right, - let's put in some ashes or embers, - and it needs to have a opening in the top of the pipe. - It looks like you're looking at it from the side, - which it wouldn't be right. - That's out of perspective. - So I just do a quick mask with the oval marquee on a new layer that I filled it with gray. - Now control T to moving around, - squishing around, - distorted. - A little bit of fine teaming here, - just trying to get the perspective just right. - Just so. - Looks like it could rotate down a little bit to the right clock wires. - There we go. - Now it's dark in that up a little bit. - I'm just gonna grab levels real fast, - and they control. - Click on that oval layer, - make a new layer and just started. - Try to fill in some of these ashes. - What would look like ashes inside a pipe, - as you would expect? - Looks like nothing's happening, - so I need to definitely either get a brighter color or increase my opacity and flow skin a - little better. - Let's make a new layer here, - continue to hit it with, - and I'm gonna take both these new layers. - I made a move into the top of Stack. - Something was affecting the visibility of my brush strokes. - That's better. - Now it's getting darker. - And let's get some charcoal ash in there. - There we go. - So instead of like dragging and moving my brush, - I'm just clicking one click and then I'm erasing out or switching to black. - So I'm toddling between this black and my grey you see in my tool bar on the left, - hitting the X key, - toddling back and forth quickly between the EC, - um, - black and a gray. - Now let's try to get some orange. - I m very looks. - Look to this. - Ash looks a little boring and you know, - once again this whole oval shape that's the opening of this pipe is selected with a mass by - control clicking on this layer. - It's just hidden so I can hit that can use these big, - wide brushes that go way out of the drawing area, - and I don't have to worry about oh spilling over the pixels into other parts of the drawing - that's coming together Now. - I finally emerged all or I'm going to merge the oval and the ashes and everything together - on a one layer. - Now that there it looks the way I want it. - I don't need to worry about having it on separate pieces. - So called downshift, - he select layer 25 29 and hit control E. - Now control T toe. - Move it a little bit, - select by control, - clicking on this over layer. - Now, - if this was opening, - there would be a little bit of a bevel, - and the light would hit that. - So let's use the A little bit of white stroke. - So edit stroke about four pixels that looks no looks about right. - Okay from Zoom out, - it's looking pretty good. - Sometimes it's hard to remember that you're zoomed in like a zillionth of one. - You know, - percent. - And if you're document is only 8.5 by 11 you're looking at what could be like half inch. - So sometimes it's easy to get carried away detail ing something and you gotta go. - Oh, - that won't even be visible When I printed out actual size. - Okay, - so I loaded my pipe selection, - which we had saved before. - Very handy saving selections like that. - Then I hit control age to hide it. - Now I'm gonna do a little more shadowing here. - Remember what I said? - The paw in this case is in front of the pipe, - so let's make it look like it a little bit of shadowing there, - and it's looking good. - I think we're ready for some finishing touches. - So let's take another second. - Look at this smoke. - You'll see I worked in this dollar sign in the smoke, - which is sort of a recurring theme of this piece that I kind of just stumbled upon. - And once again, - this smudge tool is just fantastic for pulling out. - These little wisps of smoke just makes these beautiful little trailing off shapes sort of - almost curvilinear shapes and the edges air nice and soft. - It looks just a lot like smoke. - Let's do a trick for adding more depth to our artwork. - So this main body of our work is now like layer 25. - It's almost all the layers merged except the background and the smoke. - Let's duplicate that layer Now go toe filter, - blur Gaussian blur. - Just follow me here. - We're gonna blur this top layer about like that. - Now you've got a blurry layer and sharp player. - Now we're gonna use the eraser tool. - Get a nice, - big soft edged brush and start erasing out of the blurry layer. - All the areas that would be closer to us like the nose, - he asked. - Got the pipe and the paw. - And what that does is gives the feeling the look. - That areas closer to us are in sharp focus, - and areas farther away from us are blurry, - similar to the way a 35 millimeter photograph can work. - Not a really add this highly detailed look. - Let's grab a tiny little brush and just start, - and I drop her the color that is in the in the work that's nearby, - where we want to brush and just start brushing in these little wispy hairs. - It looks like such a small detail and almost, - you know, - in perceivable. - But I promise you, - this really goes a long way to making your look work, - making your artwork look, - uh, - professional and detailed and creates that illusion of depth. - Keep brushing these in a little more here, - a little more there. - Nice. - So I want to draw up a folk picture frame around the outside of this, - and to do that, - I want to use my pencil, - So I'm gonna print this out and draw over the printout. - So let's do that by making a new layer and feeling with white, - then back this off a little bit. - The idea here is that it's light enough that I can draw on and see my pencil marks, - but it's dark enough that I can see where the existing artwork is. - So I'm gonna fill this with a blue or actually a scion color. - Change that to color mood. - Now duplicate that layer and let's fill that with black. - I'm always I'm continuously hitting control a and fill. - If you're wondering how I'm doing that now, - let's change that layer motor saturation that's gonna take all the color out. - There we go and give it a blue tent and get it light enough that I could see what I'm doing - without interfering with my pencil marks. - There we go. - So let's file print, - You know, - in my print preview, - it looks like it's too dark, - so let's increase the capacity of the white layer now is try file print again. - I'm gonna draw over this printout and scan it again. - So that's why I need to get this looking just like this. - There we go 17. Class project - Finishing up: - So I've drawn in this vote picture frame off camera, - and I've already selected all of it with the path tool. - So let's load that path as a selection hit control C that goes to the clipboard and go back - to original artwork and hit control V. - Now you should notice in my layers, - pal, - that all the layers now have been merged down under the background layer. - So we're getting close to the end. - Let's try to find Tune this so picture frame by using darkness are in fact levels and okay - now go to image just hue saturation. - , - Let's get the colors looking just right. - I'm looking for like an oak, - you know, - carved oak Look, - and I'm gonna fast forward a little bit here because it took a while to do this. - There, - you see, - I magically fast forwarded and I want to load my custom brush set. - I've had this brush and brush set for years so quick on that arrow down by the brush. - Then click on that gear and go load brushes. - Now I have these brushes called Jamie O brushes, - and I've collected these for years. - They're filled with grunge brushes, - feather brushes, - lightning brushes. - Grass brush is just about everything in their extremely handy. - Most of those I did get from deviant art or other tutorials that allow the brushes as a - download as part of the tutorial, - and you can see they're all of a sudden I got a 1,000,001 brushes to pick from. - There's one I'm looking in particular for. - That's a really nice grunge brush, - and it's there it is, - And it's going to give this a nice little finishing touch to this frame toe. - Give it a nice oak. - Some of the black Vaidehi areas of Oakar would. - So I just use the bracket keys and twos. - Hit that. - Just tap tap tap with the tablet, - and you should get the look just right. - So I'm gonna do that to the other side off camera. - Let's lay in some text, - so I want to put the name cash in this brass nameplate, - so I grabbed the text tool and type out cash. - Now with control T. - I'm gonna resize it Now Control, - click on the cash layer that would give you mask and then go back to your brass layer and - hit control C and control V then with layer in her shadow, - you can create that effect. - But zoom around here and look at the details. - You can see that looks kind of funny words blurry and then sharp. - But I promise you, - when you zoom out, - that creates the perfect illusion of depth coming together. - Okay, - So just when I thought we were almost done, - I took this picture of myself in cash, - and he just had this absolutely perfect expression on his face. - I was going to use this for my profile pic, - and I thought, - this has got to be in the main class artwork. - So even though I was done, - I thought, - I'm going to give this a try. - So here I just control C control V the paste Now control T to get it into my class project - the more fine tuning again with the control t trying to get his head in just the right spot - . - I'm actually just trying to get the eyes in the exact spot of the other ones. - So let's go semi transparent here. - Then I can kind of see to get the eyes the exact right spot. - All right, - so now it looks way out of place. - But you're gonna be surprised how fast I think I could get this in there. - So first thing we're just going to erase all around the outside of the head. - Yeah, - no problem. - It's already coming together. - Now I need to get that sort of the right lightness and darkness. - So let's use curves this time. - Curves on levels air pretty similar, - but curves is a little more sophisticated. - Here we go now. - Levels toe, - lighten a little bit. - Way too dark. - Let's just cancel that. - Let's try to add a little bit of yellow to it because there is yellow light going on in - here unless just continue to erase out. - Yeah, - that just he raced out perfectly. - So as I erase out the class project painting just shows through behind it nicely. - Curves is great at bringing out fine details. - So you saw that for just came out nicely. - I don't need that. - There we go without too much trouble. - We already got the new eyes in there. - Well, - sort of before coffee after coffee thing going. - So now it's just a matter of learning back in like we did. - Everything else are back to the smudge tool and smudge these pixels around. - Let's add that signature Siamese blue to the eyes. - So last sue and just draw. - Now hold down the shift key. - See the plus sign toe. - Add to your selection instead. - Color dodge. - This time I'm just gonna go to Hue Saturation. - Check colorize. - Slide it to blue than adjust these sliders. - There were just right how control de to de select. - Let's had in some details in these eyes. - So some hot spots. - So some just solid white dots and it x tata go colors to the black, - getting a little bit of kind of eyeliner effect. - Now this looks like it would just be painted in and not blended in, - but it's sort of an impressionist kind of effect, - I guess. - So when you zoom out, - it looks perfect. - When you zoom in, - you can definitely see big, - broad, - broad brush strokes, - but it creates there. - You see, - when you zoom out, - it creates a nice effect. - So this is really coming together. - It looks like some fantasy cat right out Alison Wonderland or something like that, - and we're really in the home stretch here a little more smudging and fine tuning. - Sometimes I use this burn and dodge tool. - It's a very subtle effect, - but I'm gonna try to burn in some of the for there. - Burn makes it darker. - Dodge makes it lighter, - more with smudge. - Tool erased out the new eyes. - There was extra pixels we didn't need again smudging in the for you lot have also noticed - that I'm now that we're zoomed in so close that I fast forward a little bit and added a - bunch more little for wispy hairs all over the thing, - especially on the left side of the head. - That really goes a long way and given a lot of depth. - So here, - with the Dodge Tool just a little bit above the I, - you can see it lightens it up just nicely, - just subtly again on and off again to see if my eyes are in the right spot. - More with the smudge tool, - just more blending. - It's also funny at the end of the day of working on all those all that faux picture frame I - really didn't like it looked too heavy and overpowering, - so I just turned the layer off so more more. - Ah, - fine little hairs you can really see what what a difference that makes and making something - look like in crystal sharp Focus. - Now they're wispy hair with speaker there. - How about a few more whiskers? - Here we go. - Cats just have a ton of whiskers. - It's really getting just the right look at this point. - And if I wanted, - I could even just keep going and just work at this for weeks. - Take breaks, - come back, - hit it again and really tighten this up. - But that would be a too long of a class project and I would lose your attention. - So I think it's far enough that you've already learned a lot. - I want as we sort of wrap up this class project. - I hope you notice sort of a pattern in the tools I use. - I use, - I don't know, - maybe about 20 things to do something like this just over and over again. - Photo shop is absolutely filled with tons of redundancy. - There's a lot of different ways to do what I've done. - This is what I've stumbled up, - crossed through lots of trial and error over the years. - I hope you learned a lot. - I hope you try some of these techniques. - And you don't, - of course, - have to do a cat. - You can use this to do any subject matter, - and you don't have to have. - It is detailed as this either. - I mean, - just with the wand tool and the pen tool and just filling things with Grady and brushes and - stuff, - you can make something a lot more basic and still be totally cool. - Here we go with on and off again, - I don't worry about if you're not gonna make a a fantasy character to this detail, - just use a project and try to use the tools and the techniques I've shown you and you're - gonna be hopefully surprised. - It the quality of work you're going to be able to pull off. - And just, - of course, - a lot of practice to more fine tuning. - We're getting real close now. - It's really surprising how fast I got these new eyes in there and didn't have to do a - tremendous amount of work. - I was concerned that I might have to almost go back to the drawing board, - but it looks just right. - A few more hot spots remember anything wet or shiny like, - and I would be is gonna have hard dots of color in it. - Let's back up a little bit. - That's a little too much. - I'm really getting into the finer details now. - Well, - as we wrap this up, - I just really want to thank you so much for listening to me and letting me share thes - techniques with you. - I've never really shared this with not a lot of people. - So this platform has been a blast for me, - and hopefully it's gonna help you tremendously if you want to. - Any sort of artwork like that. - So here's this slow zoom, - and I think I'm done. - Um oh, - I noticed my cinders and my pipe disappeared. - I'll add them in later. - Um, - there we go. 18. Resources: - Unit three. - Resource is deviant. - Art is a great resource for getting very unique. - Photoshopped brushes Simply go to deviant art dot com and search for Photoshopped brushes. - You'll find unique brushes that you can download and use for your projects. - These brushes are created by individuals on deviant art, - and each person has different terms for using. - The brush is so make sure you read the terms carefully. - The's fire brushes look interesting. - Let's just click to download. - You can install them into photo shop later. - More file is a great resource for totally royalty free and free to use photos. - Now the quality here is not as good as what you may see that I stock. - But there's some decent images here, - and you can use them totally free and clear for any mashup projects you have in the future - . - If I was to do another can't image, - for example, - and did no no cat, - I could just go here and find something that would total to do the job easily. - If you use adobe products regularly, - you might get frustrated that it is hard to get a super quick fought preview. - Hot picker is a great free and easy to use preview program that I use every day. - I already have it open so you can see what it looks like running. - It's a lot easier to just type in the word and cycle through font choices. - Give it a try. - Speaking of fonts, - I get a lot of bonds from default dot com. - There are many fantastic bonds here, - but each pop comes with its own usage terms. - Many are totally free to use, - but really, - terms carefully appall them. - I'll just search for fantasy fonts and see what I get, - man. - There's a lot of stuff here. - It's a great resource. - Another resource I use is all free download dot com. - There are some great clip art selections here to use for your projects. - This is a great resource for things like floral patterns and background patterns. - It would take a really long time to go, - all of which can be imported a photo shop for using your artwork. - Or it could make selections out of him and turn them into custom brushes. - Be sure to read the usage terms. - I hope these resource is of great value to you. - I would encourage you to give them all a try