My Coloring Process: A Step-By-Step Guide In Adobe Photoshop | Kyle Petchock | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

My Coloring Process: A Step-By-Step Guide In Adobe Photoshop

teacher avatar Kyle Petchock, Kyle Petchock Art

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (28m)
    • 1. Course Intro

    • 2. Lesson 1: Flat Colors

    • 3. Lesson 2: Applying Shading

    • 4. Lesson 3: Adding Light Values

    • 5. Lesson 4: Finshing Touches and Details

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

Community Generated

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





About This Class

Hey everyone!  In my third Skillshare course I’ll be showing you my entire coloring process using Adobe Photoshop.  I break down my coloring process step-by-step into separate lessons, which include placing the flat base colors beneath the line art, applying shading, adding light values, and finally throwing in the final details and finishing touches. 




Meet Your Teacher

Teacher Profile Image

Kyle Petchock

Kyle Petchock Art


Hello, I'm Kyle Petchock and welcome to my Skillshare channel!  I'm a freelance artist who specializes in digital illustration / comic art, and I started this freelance journey just over three years ago. However, this didn't happen overnight.  Breaking into the art world is no easy feat.  It requires years of practice, patience, and most importantly, Perseverance to push through challenges.  Always believe in yourself, because if you do, you'll take the inspired action required to move you one step closer toward your goal, even if they're baby steps (yes, those count too). 

My personal mantra is 'Keep Persevering,' which also stands for my initials (KP).  More importantly, I use this motto to let aspiring artists know that even a normal guy who spent... See full profile

Class Ratings

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

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

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

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


1. Course Intro: Oh, hey there. So are you a beginner who is looking to improve your coloring skills? Or perhaps you are an intermediate colorist who's looking for a fresh and new perspective. If you want your guests either of those that this is the class for you. I'm Kyle Pet Shock. And today I'm gonna be walking you through my entire personal coloring process. I'm a freelance artist, trained in graphic design and commercial art, but I mostly specializing illustration and common card and this course I'm gonna be booking you through my entire colored process. Using Adobe Photo Shop, I'll be breaking the whole process down into four lessons, which will include placing the flat base colors, adding areas of shading, applying light values and finally, at the end, adding any finishing touches and details after you've completed the course. I also have a class project for you to work on at the end as well. Thank you guys again. So much for choosing this course. I know you won't be disappointed. So without further ado, let's get started 2. Lesson 1: Flat Colors: Hey, everybody. In this first video lesson, I'm gonna be talking about Step number one of my coloring process and Adobe Photo Shop, which is laying in the flat base colors beneath the light. I'll talk about choosing the right color tones for your artwork and using the magic wand selection and paint bucket tools to actually apply these flat based colors. So with that being said, let's get started. All right, guys, start by creating a new layer beneath your liner and call it flats. Next, use the Magic one tool to select all the negative space around your subject. Then, at the top of your screen, go to select click in verse from the drop down menu, and this will inverse the entire selection. So that way, all this face inside of the subject will be selected. Fill in this initial selection with white or light shade of great When making separate selections to add base colors, you can select outside of the subject in order to save time, and then snapped the selection to the Leinart by pressing control all ship under keyboard. With these keys, press down, cover your cursor over the flats layer and when you see a small box with an ex appear, Tap the layer to step the selection to the Leinart. Next, select all areas of the subject that will be colored using either the freeform polygon, a Lessel tools or of the magic one tool, and then grab the paint bucket tool on the left hand who are to fill in the selected areas with the desire colors. When I'm choosing colors, I tend to gravitate towards those that are more neutral, intent and tone so somewhere between two saturated and to dough. Another important thing to keep in mind when you're laying in your flat colors, always make sure you're on your flats layer because if you're on the ink slayer and you fill in the liner with these based colors, that means the base colors. They're gonna be with the inks when they should be beneath the liner on the flats layer. So I always make sure that you're on the proper layer when you're doing your work. Awesome work. Congratulations for completing lesson one of this course. By now, you should have a much better understanding of how I begin the coloring on each of my pieces of work by laying in the flat base colors Before we move forward, though, let's just do a quick little recap what we covered here. So when you're beginning, you want to make sure you create a new layer underneath your Leinart, and then you want to use either the Magic one or selection tools to select specific areas beneath your Leinart and finally use the paint bucket tool to simply fill them in with the desire colors. Thank you guys so, so much for watching. I appreciate it and I'll see you and listen to take care. 3. Lesson 2: Applying Shading: Hey, guys. In this next video lesson, I'm gonna be walking you through step number two of my coloring process in Adobe Photo Shop , which is applying areas of shading. In order to create some depth for your work, we'll be talking about identifying the light source. So that way you can place areas or shading accurately, blending different layers of shading, using different blood modes in the layers panel and how backward elements such as the time of day and lighting will affect the hue and shade of the shadows. So with that being said, let's dive right in. Okay, so now we're going to start by creating a new layer on top of the flats, and we're gonna call it shading one. Next, select the flats layer by holding down control, all shipped on your keyboard again and hovering over the flats. Layer with your cursor until you see that small box with the ex Appear. After that, tap the layer to select it, then go back and make sure that you have the new shading layer selected and fill it in with dark shade of grey. Set this layer to the blend mode of hardly after that go to the top navigation bar and select image from the drop down menu. Click on adjustments and go to hue saturation. A window will then pop up, and you want to click on the check box in the lower right quarter next to cull, arise, then move the saturation bar to the left to tone down the saturation it needed and move the lightness for two. The right to lighten the shading. If it's a little too dark for this initial shading layer, I'm gonna go with the tone of yellowish orange Teoh match that light source that we created earlier. Okay, now we're gonna pinpoint the light source on the right side in the upper corner and then take a hard edge eraser tool to remove areas of that shaving layer, which will be exposed to light. I find that this method is a lot easier than manually going in with the brush tool and creating all the areas of shading separately. And I stumbled upon this pretty recently when I was just experimenting and trying to find a new and unique perspective, applying the shadows. So I highly recommend it, and I think you'll find that it's a lot easier as well. In order to save a bit of time and move along here, I'm just going to speed up this part of the process a little bit faster. Okay, next, we're going to select certain areas and lend the hard red shading more by using a process of addition with a soft edged brush tool. And we'll do this by grabbing the freeform lasso tool and making simple selections and then blending the hard edge with the base color underneath by adding more off that's shading tone with a soft edged brush tool. And now, if we've added too much, we can simply take a soft edge eraser and erase it. And so we get it looking just the way we want it. There might also be parts of the shading that we've created that appear to be too dark for that specific area. So if that's the case, what you can do is grab the selection tool and select that area by itself, and then grab the eraser tool and lightly erase a little bit of the shading off. Not all the way, but just a little bit. Or you could also lower the A pass ity of the eraser brush tool itself to ensure that you don't take off too much of it. Also, if the shading appears to be too dark, we can also lower the capacity of the whole layer itself by going over to the layers panel and adjusting the opacity of it until it looks good. Then to create darker areas of shading that have the least light exposure. Create another layer on top of shading one ending mitt shading to select the entire shading one layer. Using that keyboard combination, I discussed earlier control all chipped and then go back to shading, too, with a bit of a darker color to shade and paint these areas inside of this election if needed. You can adjust the capacity of this layer as well the blending or smoothly, and make sure it's test of the blend mode of Hartley and looks like we did with that initial shading layer. If you like, you can erase certain areas using a harder or softer ed brush tool. If the brush tool is harder edge, make sure that the blending option is turned on. This could be found up at the top of the screen. Another thing to do with the shading is if you end up using a different color, and they need to go back to that same shading tone that you will plan earlier. Make sure either of the shading layers are set back to the normal blend mode before you go and pick the color to use again. Because if you pick the color when it's on hard link, then you're gonna have the wrong color tone. And it's not gonna blend well with the rest of the shading that you've already applied. Now, for example, let's say that the background is showing a nighttime setting with a lot of Deep Blue's. I'm gonna create a new layer beneath the flats, and I'm gonna call it background, and then I'm just gonna fill it with a deep tone of Luke with the paint bucket. Now this background color is going to affect the overall tone of the subject, including the shading, so create a nuclear under the shading one layer and name it shading. Three. Select the flats layer with control. All shift on the keyboard again, returned to shading three and fill that layer with dark shading rain. We're gonna set the blend mode of this layer of heart light as we've been doing. Then go back to Hue saturation, check that box next to cull, arise and then adjust the hue bar up top too closely matched the tone of the background. If it's too dark or too saturated, you could easily tweak the saturation and like this bars until you got it looking just right. Okay, Now let's say we want to change the background color from blue to a deep red. What we're gonna do is go to that background layer and then go back up the hue saturation, and then we're gonna open up that window and adjust the hue bar until we reach a deep shade of red. This, in turn, is also going to affect the overall tone of the subject. So we're gonna excited that and then go to that shaving three layer that we created. Go back to Hue, saturation. And then we're gonna adjust the hue and tone off that layer until it closely matches that of the background. Fantastic job. Congratulations for completing lesson two of this class. By now, you should have a much better understanding of how I go about applying areas of shading to my work. So before we move forward, let's do a quick recap what we covered here. So when you're beginning to add areas of shading, make sure you're working on separate layers on top of the flat based colors. This way, if you make a mistake or need to undo or correct something, it won't affect those flat base colors underneath. You also want to remember the light source because once you identify that, you'll be able to accurately place areas of shading. You also want to remember that there's gonna be several left levels of shading, so they're gonna be that initial layer. And then there's gonna be another area of darker shading. So using multiple layers on different blend modes is an effective way to go. And remember that different background elements, such as the time of day and the lighting are gonna suddenly affect the hue and shade of the shadows. It's not gonna be too overly saturated, but the hue is gonna change very subtly, depending on what's going on in the background. Thank you guys very much for watching. I appreciate it is always, and I'll see you in the next lesson. Take care 4. Lesson 3: Adding Light Values: everybody. In this next video lesson, I'm gonna be walking you through step number three of my color process in Adobe Photo Shop , which is applying the areas of light Teoh further develop the rendering. So I'm gonna talk about where to place areas of light to justify the light source that we identified in less than two using different blending options. And I'm gonna talk about where to place subtle areas of highlights. So let's get to it. Okay, guys, So we're gonna begin by creating a new layer on top of those three existing shaving layers and call it late one. Then go back to the shading one layer that we created back in lesson too, and select it using the keyboard combination. Control all shift while hovering over the layer until that box with the X appears, then top the layer to select it. Next. Inverse the selection by going up top to the navigation bar. Click on select dropped them to inverse. Once you've done that, go back down to the flats layer and use the control all shipped keyboard combo again to snap this inverse selection to the subject. Now, all the areas that we've erased in the shading lesson will be selected. Okay, so now, before we move forward, row quick, we're gonna go and turn that light source later back on that we created in less than two. So let's go flip that layer back on. Then we're going to return to that light one layer. Grab the Grady in tool on the left hand toolbar and then go to the color picker tool to select a light tint of yellow orange, or a color that's gonna closely match that of the light source that established in the previous lesson. Use Grady in tool found on the left hand toolbar and swipe their person left. Decree a smooth radiant of this 10th inside of that selected area, then set this layer to blend mode over light or softly. Now, if the light exposure is too much, you can go to the light layer and simply adjust the capacity as needed, and you can bring it down to a level that's a little less intense now, after we have applied. That initial layer of light create a new layer above that layer and Colin pilots highlights are areas that light is hitting the most and they tend to be small, concentrated areas. So we're going to set this layer toe overlay and then grab the color white from the color picker. Next, use a soft edged brush tool and lightly create some highlights in the appropriate areas and then grab a hard edge eraser with the blending option of top activated to create subtle, sharper edges if needed. Adjust and lower capacity if the exposure is too high now that all of the light values air placed in, for example, and we wanted to go back and turn on that night time background and then changed the light source from yellow to blue. This would also affect the lighting on the subject. So what we would do is after return those layers on, we would go to both those lighting layers, go up to image and then down to hue saturation. And then we would simply adjust the hue of both of those layers to match tone of the light source. And again, the easy and simple thing about hue saturation adjustments is that you don't have to erase the original like players and then repaint them with a different color. All you have to do is simply adjust the colors, and it's quick and easy, and it doesn't take a lot of time. Amazing job. Congratulations for completing Lesson three of this course. By now, you should have a much clearer understanding of how I go about applying areas of light values to my work. Before we move forward, though, let's just do a quick recap of what we covered. So when you're starting to add your life values, make sure you're working on a layer or separate layers above the previous layers applied so above the shading and flat colors. This way, if you make any mistakes or need to erase something, you won't affect any of those layers underneath. Also, if you want to remember that when you're working on these layers, I find it using the blend. Modes of either soft light or overlay are most effective for blending the initial areas of light values with the rest of the layers underneath. And then finally, when applying areas of highlights using the blend mode, overlay is usually most effective, and they should be subtle areas showing where light is hitting the most. And on either of these layers, you can adjust the capacity to really get the right look that you're going for. Well, thank you again for watching. I appreciate it. And I hope you learned a thing or two. I'll see you in the next lesson and take care. 5. Lesson 4: Finshing Touches and Details: Hey, guys. In this last video lesson, I'm gonna be walking you through the final stages of my Color and process and Adobe photo Shop, which includes finishing touches and adding details to complete the final rendering. So I'm gonna talk about where to add relating what appropriate blending the liner with the colors underneath. And we're gonna use the adjustments tool on the right and toolbar to alter and tweak the hue slash saturation color, balance and levels to achieve great end colors. So with that being said, let's do this. Okay, so the first thing that we're going to do here is create some room light around the edges of the subject room. Light is formed when there's a light source that is higher above the subject or slightly behind it, so create a new layer above the light layers and call it room late. Next, grab a hard edge brush tool with the brush blending mode turned on and create, relating with a light tint that matches the color of the light source. We're gonna set this layer toe hard light, and now we're just going to go in with some room lighting around the edges of the subjects facing the light source directly to increase the exposure. You could duplicate this layer and then set the blend mode of the duplicated layer toe overlay and then toe blend a little bit more effectively. You can also adjust the impasse ity of either as well, if the exposure is a little too strong. Okay, and now we're going to go in with some darker, more subtle room lighting around all the edges of the subject that we're protest away at our directly exposed to light source because there's still a little bit of light from behind the subject. So therefore there's gonna be a little bit of reflected light around the edges, so create another new layer above the rim like layer and call it room like to and set this layer the hard light while using a darker, more dull tint of the color that we used for the other room like layer. All right, after we've done that, we're going to go and blend some areas of the liner with the rest of the colors beneath that layer, and we're gonna do this to lower the contrast between the black line art to the colors underneath and allow it to blend and flow a little bit more smoothly. So go to the top left hand corner of the layers panel and click on the small box next to block that looks like a tiny check record. This will allow you to paint the line, work without the brush leading outside the lines, then grab a darker shade of the base color beneath the area of the line. Work using the color picker tool and then you're going to go and grab a darker shade of the base color beneath the area of the line. Work that your coloring to blend it, and now we're mostly just going to stick to the interior detailed lines when working through this step until at the very end, when we're actually gonna go and color some of the liner that's around the intense room lighting on the right side of the subject, Okay, and then I'm just going to speed this up a little bit so that we can move along more quickly. And now this method of coloring the wine work in order to blend it with the colors underneath may appear subtle, but overall it has a big impact and effect on the rest of the peace. And it just gives the overall artwork a bit more of ain't smoother blended appearance. Okay, And now, before we move on to adjusting the color setting the bugle roll piece, I want to do a few last little finishing touches here. So we're gonna go back up and I'm gonna create a new layer above the inks called my reflections. And I'm just gonna take a thin brush with the color white. And I'm just gonna create small, reflective like areas on the irises. And then when I'm going to do is create another new layer above this and call it Chlo, and I'm gonna set this layer of the hard late. Then I'm gonna grab a similar tints of that light source that we established earlier. And with a soft edged brush tool, I'm gonna create a subtle glow around the areas of the room light that are directly facing the light source. The areas that are the most harsh and intense. All right, once all the colors air placed in some adjustments may need to be made in order to achieve a good color balance in the overall color of the peace. So on the right hand toolbar, you'll find an option called adjustments. Click on this and you'll find an option that reads color balance. Here you'll be able to tweak the mid tones, highlights and shadows of the entire piece of work. You can also tweet the overall hue saturation of the piece as well as the levels if the contrast is a little too intense and you'd like to lighten the overall colors, Okay. Now, after we have adjusted all of the color settings here, new layers are gonna be created above all the existing layers, and you can actually turn them on and off to compare and contrast as to how the colors appear before those layers were turned on and after. And then the last thing I'm gonna do here is goto above the background layer, and I'm gonna create another layer and just grab like shade of blue, using the Grady and Tool to create a little bit more of a light source behind the subject. And also it's important that you keep your layers organized. So what I'm gonna do is I'm gonna create two groups here in the layers panel one called Cap and then the other background. So all of the Captain America color and ink layers are gonna go in the cap group, and then all the background layers are gonna go in the background group. This is just a good way to stay organized, especially if you're working on a piece that has tons of layers. You don't want to get all confused and, you know, forget which layers air which. And that's also why it's important to name them that way. You know how to get that amazing work. Congratulations for completing this class. Thank you guys. So much for watching. And I hope you learned a lot here about my color and process. Now, just keep in mind that when you're practicing these steps and concepts on your own, don't get discouraged if it doesn't stick right away. I always say this, but artistic improvement is a marathon, not a sprint. So if you don't get it down right away, that's OK. It may take 10 tries. It may take 30 tries or 50 tries or more than that, but the point is, as long as you keep persevering, learn from your mistakes and don't quit, You will see improvement at some point. Now, I've got a little assignment for you. I want you to take everything that you learned in this course and color your own piece of light. The subject matter for this project is totally up to you. Or if you've already seen my previous courses on the male and female figures, you could take either one of those class projects and color that keep in mind when you're working through your project to remember the different methods that we discussed in the video lessons, such as utilizing the layers tool using different layer one bones for the shading light values identifying the light source and using the adjustments tool to finalize the end colors. After you've completed your work, upload your project to the class project gallery. So that way I can leave constructive feedback and give tips for improvement. Be sure to upload your files as a high resolution jumping as well. Thank you guys again. So much for watching really means a lot to me and I really appreciate it. And until next time, keep persevering