Paint What You See - Intro to Digital Painting | Ina Tsetsova | Skillshare

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Paint What You See - Intro to Digital Painting

teacher avatar Ina Tsetsova, Illustrator

Watch this class and thousands more

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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

11 Lessons (1h 22m)
    • 1. Introduction

    • 2. Choosing a Good Reference

    • 3. Some Color Theory (Part 1)

    • 4. Some Color Theory (Part 2)

    • 5. Some Color Theory Part 3

    • 6. Analyze Your Reference

    • 7. Painting Timelapse (Part 1)

    • 8. Painting Timelapse (Part 2)

    • 9. Blending Modes

    • 10. Gradients and Adjustment Layers

    • 11. Textures and other tips

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About This Class

In this class, you will create a finished artwork based on a reference image. 


Whether you are a traditional painter just starting out with digital art or you are a complete beginner, in this course I will teach you how to choose a good reference image, how to start and finish a painting, and all the steps in between. Even though this course is aimed at beginners, to make the most of this class, I'd recommend you have a basic understanding of Photoshop. 


The techniques and workflow, you will develop in this class, can easily translate into your future work, whether it's from reference or imagination. 


We'll take the following steps to complete projects:

1. Choose a good reference. The first stage will cover the importance of a solid reference. I will teach you what makes for an attractive and balanced composition. I will also discuss why drawing from reference is one of the best ways to learn digital painting.

2. Analyse your image. Before the painting process starts, we'll take a look at the underlying shapes and colors. I will explain techniques on choosing the right hues and values, blocking in shapes correctly, and spotting errors. Don't worry, if you are a complete beginner, I will discuss color theory too.

3. Start painting. In this stage, we'll get to the good stuff - painting! I will cover blending, brush strokes, and texture.

4. Complete your artwork. And we're almost done! In this final stage, I will take you through the final touches and edits you can do to make your end result even better.  


Meet Your Teacher

Teacher Profile Image

Ina Tsetsova



I have been drawing and sketching since I can remember, starting with images from kids encyclopedias, cartoons, and comics, and eventually moving to digital painting. Entirely self-taught, I have accumulated the knowldge of dozens of artists from books, blogs, and videos, over the years.

I graduated with an MA Honours in History of Art from the University of Glasgow in 2013. I have been exposed to the methods and works of the best traditional painters and sculptors and have studied in-depth what makes their art so successfull. I use this knowledge every day I paint. Having seen amazing works of art all over Europe, I appreciate the traditional look and feel and try to recreate it in my own work.

I am currently freelancing and working on personal projects. You can find my p... See full profile

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1. Introduction: - Hi and welcome to this beginners digital painting course. - In this video, - I'm going to address why it's helpful to learn how to paint from a reference and how this - will improve your digital painting. - I think the best way to start learning is to paint animal photos. - Landscapes require a lot of texture, - work and a lot of knowledge about perspective, - atmospheric perspective, - color and it can be really difficult to balance your values if you don't know what any of - this means. - It's a really good thing that you don't start painting directly with last gives, - because you're goingto be no world of trouble. - Painting faces and humans in general is really difficult because you need to get likeness, - and to achieve that, - you need to be very precise. - I think that that hand eye coordination is really difficult to breach as a beginner, - especially the first project. - So what I recommend is starting with an animal with animals. - You don't need to achieve likeness. - If I am pending a giraffe like these ones here, - for example, - it doesn't really matter whether I get the right spot in the right place. - It really doesn't make much of a difference. - It's their reads as a draft, - so if you paint one spot a little bit off, - it wouldn't make much of a difference. - As if you paint eyes a little bit smaller done. - They are or knows a little bit bigger or any other facial feature. - Uh, - because as humans, - we can tell people's features we can recognise when something's wrong with the human body - with the proportions. - Human figures are one of the most complex thing to draw. - For example, - if we take loner DaVinci studies of just the human arms bone structure, - the lardo here, - for example, - was famous for doing riel anatomy studies on cadavers. - And this is part of the reason why he's so revered nowadays, - and why his paintings are so famous is because there's that extra fine level of detail. - Ah, - lot of famous artists nowadays employees models. - A lot of them use self photos. - They use stocks. - These references, - I think starting from a reference is the best way to learn how to paint to learn the - physical aspects of painting. - You blamed things how you make something look three d what kind of brushes to use, - how you use them. - You think about. - Historically, - you can see how impressionists differ from realists. - Her expressionists differ from Syria lists and so on. - So I see what rendering means. - Historically, - let's look at two completely different styles of paintings. - This is a Salvador Dali painting. - It's pretty famous. - It's realist and we can all recognize and most people will tell that this is a valley - painting. - Here we have a painting of ballerinas by Digga. - This is a completely different style from Delhi because he chooses to render things - differently. - Painting from a reference means that you don't have to worry about coming up with the - composition, - color scheme alighting and add to me old masters learn how to paint by three methods they - painted from castes they painted from live models or to pay the copies of Master Spain - thinks before them. - Nowadays we have a next door tool, - and this is a photo reference. - One of the most difficult things with painting is translating something three D into two D - platform and then tricking the viewers into seeing something three d again. - So part of the reason why painting from photos can be quite easy is that that translation - from three D to two D has already been made for you. - You don't have to struggle in interpreting shapes and colors and values, - and it already has a very set composition. - You can crop the photo, - but if you have a life model in front of you, - you could literally have an infinite number of possibilities. - In the next video, - we're going to talk about the things that make a good reference and what to look out for. - Please make sure that you either old the rights to your photo or that that photo says that - it is available for commercial and private use. - This is a painting from the female studio in Academie Julian, - which is a French art academy in 19th century Paris. - Here we can see a number of FEMA artist's painting from my life model. - Here we have a portrait study, - another portrait, - study a full body image and 1/2 body image, - as well as a pencil study. - There's so many choices to make what mediums we go for. - What position do you choose? - How do you choose to depict tomorrow? - It's fair, - difficult to make these decisions when you're just starting out with a photo you already - have a set composition, - said Lighting scheme, - a said subject. - Everything is already decided for you. - So you're free to just learn how to paint without having to worry about making all the - complex theoretical study decisions that come with a lot of practice. - In the next video, - we're going to discuss what makes a good reference and how to edit some bad references and - improve their quality. - If you really set on using a particular image, - thank you for watching. 2. Choosing a Good Reference: - in this video, - I want to discuss what makes a good reference. - We all know that it needs to be high quality that it needs to not be pixelated. - You have chosen an image from Wikimedia Commons. - I think this is a good image to teach you about some photography concepts that are also - important in painting. - One of them is exposure, - overexposed and under exposed images. - What that means is an overexposed image is one where too much light has entered the camera - lens end with thumb under exposed image. - It's exactly the opposite. - Not enough light has entered the camera lens, - and this means that the final photo will be too dark. - Having Shadows highlights and Mick tones. - It's pretty much essential in creating the three D shape here have created a circle. - You can do that by using the Marty, - too, - but placing em, - you can also scroll through these by pricing. - Shift em. - Those were found in two pallet on the left, - and it's the 2nd 1 from the top. - I prefer to use keyboard shortcuts because they make everything a lot faster, - and I think they improved. - The workflow is you can see the circle here doesn't really look like a spear. - That's the difference between the two D and three D ship and you're standing. - This is really important when you paint this fear that we see on the left has ah, - highlight and a shadow, - and it's because of the way reacts to light. - Then we can understand that it's a sphere, - the shadows curved around the shape. - It's not a straight line, - and that curving around the shape really helps establish the form off the sphere. - If I want to start shading. - One useful thing to know is how to create clipping layer, - creating a clipping where allows you to paint within the lines so you create a new layer by - pressing shift in, - and as long as it stays on top of your image, - he right, - click and choose grad clipping there, - and I can paint safely within the lines like so. - So one way of seeing value easier is by using the levels options. - In photo shop, - you choose image adjustment levels, - and here you can see a little graph that shows you the values mapped out. - You don't want to have picked highlights or big shadows. - What that means is you don't want the values of the graph to go beyond its frame right at - the end. - It's okay for it to do that in the middle or close to the end, - but not right in the shadow or highlight side. - You can also manipulate your image this way. - There are three handles. - The one on the left changes shadows, - the one in the middle Mick dogs and the one on the right highlights that can be driving - left and right to affect your image. - And you get a previous you're doing. - The changes here does. - Graph is quite balanced. - There's no peak pilots or shadows, - and we can tell this when we look at the image closely. - There is a strong highlight where the light is hitting this fear directly, - but this is fairly natural. - One thing I want to talk about the zooming in when you want to. - Humans and people recommend using the shortcut control plus control minus. - I think that's a very uncomfortable shortcut, - because you have to use both hands for it, - and it only allows you to zoom in to the middle of the canvas while if you pressed space - all in that order and holding together, - you'll notice that you consume and dynamically dragging your pen. - Like to zoom in and left to do mom, - and you notice the chickens human at any point of your image comfortably and really quickly - and easily. - By using your stylists, - you can also pan around your image back racing space. - Another important thing I want to talk about is it's really important to damage doesn't - have picked ah highlights and shadows because this way detail is lost. - Photos are made from pixels. - Well, - that means is that their little squares making up your image in each one of them can only - hold one color at a time. - So the last fixes you have the less color in the last Valley information days in your image - . - So the smaller your images and the last big cells they are, - the harder it will be for you to paint this when they made a much smaller, - like here, - the highlight. - We just talked about the secular highlight in the middle, - uh, - is made up of probably 300 pixels, - so photo shop will choose the color that looks most obvious, - which is usually white. - Now that the original photo is much smaller. - The highlight is made of probably four pixels, - and they're all pure white. - If we go back to the original size, - you see that the speculator highlight here. - He's made up off hundreds of pixels and their Spinks and reds. - And in fact, - it's not one dry and circle of highlight. - It's much more complex than that, - and understanding. - This also helps us see what surface this fear has. - Its not a smooth surface. - It's not glass move. - If it were, - this highlight would be a lot more uniform. - It wouldn't have all these lines. - So the last movie it is, - the more jagged E the reflection would be. - Here have a graph of how reflections work like Terry's. - A bit complicated, - but a few of the important things that you should remember our that when we talk about - outdoor life, - we can assume that the raise a parallel because the sun is so far away when it's - candlelight or lamp like things are a little bit different. - But as you can see in this graph, - when the lottery's hit, - the surface they reflected back there reflected parallel and usually this is how we get - color red objects reflect thread colors, - blue objects reflect blow Carlos. - And so with the graph on the right with you, - we see how the fuse reflections work, - and this is closer to a real life situation. - For example, - if we have light hitting a less uniform object like a rock or a beach where there's many - little grains of sand, - light will bounce back in all sorts of directions. - And being mindful of that and understanding how it works means that you will be better - painting different textures in the tales here and blurred damage to show that even though - image that looks quite trip when seen from afar is actually quite blood from up close. - If you choose the Gaussian Blur filter and I put it to four pixels from afar, - the image looks fine. - But once as you Lynn, - we see that that speckled highlight is very, - very bloody. - Please make sure that you have the reds to the reference you're using. - Usually that means that you are they took in yourself, - or the person that took it has told you that you are allowed to use it. - Uh, - if that's not the case, - there might be some copyright issues. - So it's best if you big photos that are you wrong or to stop that's available for - commercial purposes just to be safe, - since we're doing this for educational purposes and you're not actually selling prints of - your image. - Generally speaking, - you should be allowed to use any photo. - But just to be on the safe side at your command that you go for stock that is available for - commercial use or your own here have opened the photo. - I'm going to be working from it to stock thought of an elephant from Wikimedia Commons. - And as you can see, - the graph is actually very balanced. - There is no strong highlights or shadows, - and this image is made up of mostly great colors, - which would make it very easy and fast to pain. - I hope you've enjoyed this video, - and now it's time for you to choose an awesome reference 3. Some Color Theory (Part 1): - in this video, - I'm going to talk a bit about the basics of painting. - So when I started to paint, - I couldn't. - I just couldn't understand what color theory can do for me. - Practically, - I could understand the technical parts of color theory, - but I couldn't figure out how to apply them practically to painting. - My first paintings were very blurry, - and they were very muddy. - So to me, - it seems that the two most important things that you need to learn in the beginning, - how to handle your brushes and how to think in color I think that these air sansho to - getting your first paintings down. - And once you've started to paint and once you feel fairly comfortable with the process than - enough practice, - you will get better thing that if you ask most artists out there, - they'd agree that they're still learning and they will always be learning. - But that's part of why it's so fun and so exciting is because you can always grow. - Uh, - there's always something to learn. - It's one of the few fields where it's just so exciting. - Once you start paying thing, - you will see the world in a different way. - You will see color in different way. - You will be much more excited about everyday, - mundane things that you see around you. - I don't want to go into basic color theory too much. - There's been a law written about it, - and it can be very technical, - very boring and not very practical. - So the way I'm going to talk about it is with a bit more practical ideas. - First things first. - Ah, - lot of people will tell you that there's warm colors and cold colors. - Warm colors are the ones that around the reds that will be everything from purple, - magenta, - red, - orange, - yellow. - The cool colors are on the opposite side of the color wheel. - Those are the blues and the greens. - Basically, - you know, - that idea is very simplified, - and a lot of people do follow it. - But the best way to think of it is like this. - Colors depend on their context. - Words can change, - meaning, - depending on the context, - the same way colors can change in the way we perceive their saturation, - their value and they're huge. - The color picker Mahaney was different between coral painter and photo shop in photo shop. - It's a square, - and in painter. - It's actually a triangle. - This to me seems to make a lot more sense. - But I've gotten used to using the photo shop one as well. - Um, - the difference is that here you have white, - black and the most saturated version of the color, - and it's very easy to not again with this one. - If you want your color to be lighter but still just a saturated, - you just go towards white and you still stay. - It's close to the edge of the triangle is possible if you want to stay within the black and - white range and you want a they unsaturated color, - then you just dragged towards this end of the triangle. - And if you want to have a darker version of the originals, - had trade color you dragged towards black? - I find it easier to explain the way colors work in Pinter. - And then, - if you just want to change Hue, - you change. - Um, - by dragging across this rainbow circle. - So what issue Hugh is? - What we think of is color sort of. - We think of rent this issue. - Oranges, - Hugh yellow hue and so on. - Like Blue is actually a value value is if you have your hue, - which is blue, - and then you add white or black to it. - You change its valley so a lighter value would be towards white and a darker value would be - towards black situation Is he fled. - Say we start with some sort of a medium like blue color, - and then we wanted to be a lot more intense. - Dan, - this would be the most saturated point of the color. - No, - we've looked a painter. - Here is the color picker, - and photoshopped Black now has a much wider range. - Here you can get easily used to other one. - You can actually get the color picker Manu from Curro Painter and install it own photo shop - for free. - And I'll give you the link below in case you're interested in case you find that one a bit - easier to work with. - So if I pick what we think of as red and I apply it, - we get this color. - If I wanted to be the same red, - not pink or red, - who is in in this one? - I wanted to be the exact same red, - but lighter I can and I wanted to have the same intensity. - I'll just stay. - I'll keep the same placement on the Y axis and Photoshopped. - You can think of it easily as a graph if we want to keep the same intensity but wanted to - be a lighter color. - Languages drag, - keeping our position on the Y axis towards the left towards white, - and we get this color. - If, - for example, - I think that the intensity of this color is too much and I wanted to be more muted, - I dragged down keeping the same location on the X axis, - and I'm moving down towards black. - Here we go. - We get a more muted and also darker color. - The first strict hair is to actually not paint on a white background. - Most artists will tell you to use a sort of medium gray color because that immediately - shows you just how vivid these colors that we just placed here are. - A lot of people would actually say that, - um, - these are digitally passed. - In a very rare occasion, - you would see such a bright, - intense color most time fractures. - This one when you start painting, - I would avoid anything that is above here, - to the side of this line and definitely below black below. - Here we're darkens and then we demonstrate. - So I would say, - instead of choosing this color, - if you want to go for red, - go for around here. - If you want to go for a for a black go Probably around here. - Don't go here. - This would be brown. - Let me demonstrate. - This would be a sort of a brown color. - But if I go here, - this will become more de saturating and who turned black. 4. Some Color Theory (Part 2): - looking at this would say that it's pure black and it's true, - some parts of it very close to pure black. - But if we start here with the highlight area, - you see that it's actually very far from bringing pure block. - And then the lower we go to the shadow, - these areas air, - actually quite, - um, - sort of saturated blacks. - And then the more we go into the highlight, - obviously, - the more pinker things would get because of the reflection. - There's like the light from the table, - and this is a man made object, - so it's technically supposed to be pure black. - But then let's see another organic object. - Here I have a rave in, - and if you think of it is pure black, - you're going to miss out on a lot of these lovely sort of blue colors here, - here, - where it's also looking very black. - They're basically very dissect, - created pinks and purples. - But keep in mind, - the cameras twist colors a little bit, - and we've talked about that in the referent, - choosing your reference video. - This isn't there more of, - ah, - practical sort of a look when it comes to painting. - So if I were to paint this, - I wouldn't choose black as a base. - I'd probably go with something like this. - And then I try and make a block in of it. - So I keep my brush at 100%. - I take down the opacity and I sort of try and painting, - sort of, - um, - bold strokes. - When you're creating a block in, - you should keep your A passage e and 100% and taken off Penn pressures because now, - with a racecourse you see, - here I raced and I created these very muddy ages. - So now that I've taken it off can erase and my age is there much much, - manager, - my edges are harder, - and it looks a lot nice money. - One way of knowing about the edges of your brush is by looking at first of all the softness - and hardness Slider here connect the birth 100% hard. - So you confined also dumb edge of your brush by go to window and opening the brush presets - menu. - There's no shirt shortcut. - There isn't a shortcut for that one. - And here, - by looking at gauges, - you can see whether your brush will be soft or hard, - and roughly what kind of market will make. - So, - for example, - here I have a cloud brush and this is a cup of markets would make one of my personal - favorites for painting skin is this one has a very wet look or this one, - which is this 84 chopper. - She confined its Nevin pixel in, - and it's perfect for blending. - So let's talk a little bit about blending them. - How did blending work? - How do you shade something? - Well, - let's start with the same color we have already. - That's a lot of blended with that's that have this blue color, - and I want to blend that with this red color. - But the way you do this is you clipping the blue and then you paint towards the red, - which you know fairly normal strokes and then you're painting here, - choose a blue, - some of the red makes it, - and then eventually you have this sort of the middle tongue, - and then you can blend it one way or the other. - And depending on how hard you press you could get, - um, - you could get, - um, - depending on how hard you press, - you could get some very different results. - So this is the red necks. - Idiot that purple now beginning this sort of a medium color, - and this is the final sort of blended results. - So this is your task. - Pay comedian gray color Press G to make pocket to pop up, - Then choose a hard brush pressure sensitivity off. - You can choose a dark gray or color. - It's close to the reference image penned in solar colors and create the silhouette. - Don't worry, - because even if you get your blocking fairly wrong, - it's okay. - You can always go back, - and you can always. - And it, - um, - the reason why it's good to create a Balkin is just like some people sketch. - I recommend that you spent some time and have something on the canvas before you start - painting the entire didn't her animal, - because if you do start from the animal in the beginning, - you realize just how much detail there is to paint. - And you might get a bit worried, - and you also might make a lot of mistakes by starting to paint detail too early. - If you paint detail too early, - it's that is hard to edit things like proportions. - Let's say this bird is a little bit too narrow I can stretch it out. - I can make it shorter. - I can make it bigger. - The Sylhet can be changed. - So once you're done, - you can just take your final walk in stretch of values and control T and make sure that you - restrained proportions by president shift so that you compare how your version compares to - the original. - And then you can flip back and forth between them. - And for example, - with me, - I see that my birds a bit too stretched. - Uh, - also, - you can reduce the filler, - the capacity to see both at the same time. - Now, - don't cheat by having your image here and then picking a brush and, - you know, - painting within the lines and making of walking this way. - This isn't gonna teach you anything about proportions. - Part of what's really difficult about painting is hand eye coordination and being able to - break things into shape. 5. Some Color Theory Part 3: - Now that we've mentioned color temperature, - I want to spend some time and look at this in a sort of more painterly your life situation - . - So let's take this really sort of bright green. - And I wanted to show up on camera. - So this is why I'm choosing such a new color. - Um, - I can warm this color up by dragging towards yellow and then we achieve this result and - then if I want to call it down, - I would just go up towards blue and I will get this different color then if I want to - change the original color and use it to shade something, - one of the best steps that I've ever heard. - Waas, - too. - Instead of go directly down like this and choose a shadow, - choose the original color. - And then instead of that, - going a day agonal, - depending on whether you wanted to be more saturated or less, - I traded and situation itself can also cool something down. - Depending on the context. - Sometimes great can even look warm, - but more often than not, - it can call things out so that I want to take a shadow and make it slightly colder instead - of go straight down, - I will just go on the diagonal and then I could clue it. - Even additionally, - by going towards blue, - and then I get this sort of shadow. - If it's not dark enough, - I can darken it even more that way and see how these colors compare. - This one is a lot grayer, - cooler less I traded. - So if I want to get a more sad, - created and warmer shadow, - I think the original color and then drive the adamantly down, - I could warm it up additionally, - this way. - And then I end up with this version, - and this is, - you can see is a warmer sort of color Saturday. - Here is key. - When you're painting, - you don't need to make drastic changes. - You can do very subtle variations, - and this would create a very interesting look if all of a sudden you start getting muddy - colors, - that means that, - uh, - changes in color temperature are a bit too, - too big. - So you have something to cool next to something to warm, - and you're trying to blend in and often enough, - this creates these sort of marquee colors. - Now I want to talk a bit about breast shortcuts because I think that we haven't really - covered them. - And even though I've included a PdF with typical shortcuts is resource. - I think I should still mention them in the video. - The shortcut to bring the brush to his B. - If you want to bring the race or tool you choose E. - Another thing you can do through your keyboard is to change your birth size. - Instead of using the slider Here, - you can use the square brackets next to enter to make your birth smaller and bigger. - You can even change capacity directive from your keyboard by typing in numbers. - So, - for example, - now it's 100% and I wanted to go there close to 60. - I just type six. - If you want to be a bit more precise, - you just type for example, - 68% or 35% and it's going to change your final result. - So if I do this to the brush, - you can see now that the opacity is different and I change it to 80. - Let's say when you're painting. - Another way to make sure that you don't get a very muddy result is to keep. - Your edge is fairly sharp, - and it seems like a good idea to use a soft brush because it may explaining much easier - than a her brush, - for example, - from one to blend this green would a sort of a darker, - cooler green. - Now I can have this sort of softer blend, - and it's much easier to do than if I do the same thing with a harder Bush. - And now it's much harder to blend these together. - Um, - but you noticed that these very blurry edges or not very realistic sometimes blur. - This is nice because it can help guide the I, - and it doesn't distract as much. - But sharp edges make your image look tighter and more really steak and better rendered. - So here's a red panda from more comedic corns, - and the other part of your Simon is choosing a color scheme. - And the way you do this color scheme is you think off mid tones, - shadows and highlight. - You can just go around and called a pick and then choose in that way. - But I recommend against it because just like tracing over an image to create a ball can - color picking doesn't teach you much. - It's a good idea to check yourself the way we eventually dragged are blocking on top of the - original photo and then compared. - So, - for example, - here, - um, - if I wanted to choose the colors, - look there, - Red Panda and its say, - Well, - it's a sort of an orange is not really lead. - There's some sort of redder or and just hear that this is almost yellow orange. - It's not too saturated. - I already know that I should be avoiding the really dark, - really light and really sat traded parts of the color picker. - So then I just looked at the color preview and I'm comparing. - And let's say I think this is the car. - When you choose your color, - take off pressure sensitivity and keep it 100%. - So you get the pure version of the color. - So let's say this, - I think, - is one of the midterms. - And then I think there is a sort of, - ah, - read our orange color for this area for highlights. - I know that this photo is overexposed a bit, - so I'm not gonna choose pure white, - um, - see hints of yellow hair. - And so I'm gonna go for yellow, - and then I'm going to accept trade it and choose a sort of ah gray shell. - Oh, - this would be my highlight. - This is the highlight of choosing. - And then for the shadow I see just a little bit of purple. - I see hints of purple, - and this is how you judge color. - You have to sort of go with the good feeling and say, - Well, - it's not black, - You know it's not pure black because, - you know, - if you're black doesn't exist. - So then if it's not your black, - what could it be? - Well, - it could be a blue. - It could be a purple to produce and reds in there, - and it's a I think I can see. - It's sort of a purple, - you dark purple. - It's not supersaturated, - it's not. - So this poor poets and more they saturated purple. - So let's say down this, - then, - for me, - my shadow would be this, - and this is basically what a color palette is. - And now once you start painting, - you will have these colors to work with. - Let's say you're not sure if you were correct, - right? - So now the truth Dundee exercise. - You can pick your color and then go for the area where you think the equivalent color will - be. - This is the my version, - and this is the pound diversion. - So this my lab and this is the other end. - Here's the shadow. - And, - as you can see, - another reason why it's not a good idea to carpet. - If I start color picking around the shadow here, - the hue shift. - We have a red, - purple magenta. - You can't really rely on color picking because of this. - Same here. - If I keep shifting even around the area that looks to be the same color, - it's very hard to get consistency. - And now, - for highlight the prickles. - Your homework is to take the photo that you've already chosen and create the block in and - then underneath, - just make a little color palette that should be reformed to want to start painting. - It really hope you've enjoyed this video and can't wait to see your progress 6. Analyze Your Reference: - And this is why I want to talk about the steps that a lot of painters taking their minds - before they actually start painting. - The first step we're going to tech when we paint is to establish a silhouette as you get - more less. - You wouldn't even need to necessarily do that in black and white, - sometimes as well. - It works if you do this in grayscale, - basically, - you look at the negative space and subject itself, - and you paint went on opaque brush taken off pen pressure, - uh, - capacity so that you have a nice toll of color, - and they usually use that they fought round brush for this. - It's called a block in where you just were you paying the silhouette of your image by race - , - saying with a large brush and painting with a large brush until you receive a satisfactory - result. - And then I usually would paint on top of that, - using a clipping layer. - One way of getting the seal that right is to look at negative space in this image, - for example, - we can see the subject surrounded by white background but the negative spaces forming faces - . - This is, - um, - very useful way off getting seal it's correctly is to look at the surrounding space and see - how how it's shaped. - Some people, - for example, - even flipped image vertically so that they can distinguished the shapes from the details - and pain just does before you start painting. - Another useful thing to do is to take a look at some skeletal structures. - For example, - here I found the Bagram off the way. - The tasks connected the skull, - and I learned a lot about the anatomy of an elephant, - the way their eye sockets informed they have these really defined returning cheat goes the - way their tusks are actually really elongated teeth. - This is another image that shows a connection of the skull to the neck, - the rib cage and, - depending on your photo reference, - it will be really useful if you take a look at some of these skeletal structures and study - them, - analyze how they function. - A skeleton acts like American, - so just like clothing can be quite shapeless unless you place it on a mannequin the same - way skin just have no ship unless it was wrapped around the skeleton. - So understanding the skeletal structures underlying within will make your paintings a lot - more believable. - We'll give better detail and generally just create better results. - Now that you take a little look at some pictures of skulls, - you can think about how they relate to the photo that you're going to be painting from. - For example, - I can see that there bombs here correspond to do a disguise, - and getting these fairly correctly would improve the likeness and creating more believable - Elefant. - I fired to shade this elephant. - I would make strokes that are curved and following the form. - And as in painting, - I will do similar thing. - Once you've done this, - even if you just do it mentally, - you don't have to necessarily draw these out. - You can get a better feel for what's going on, - and you should realize that it's not a spear or a square. - It's not a flat surface. - It's concave and convex. - Some industrial designers even create the sort of blueprint. - A lot of the time. - These can be very helpful with organic forms as well. - Here is an example of some blueprints of a robot, - and you can see how the lines are following the curves and describing the form underneath. - In this way, - if I had to paint this. - Now I know exactly what forming house, - I think for your first project, - it would be a good idea to make this sort of quick mash. - You don't have to spend too much time doing this. - It's not even going to be a project step. - I think it's a good idea that you take some time and you analyze your reference in this way - says I'm starting to paint. - I'll make sure that my brush strokes are following the curvature of the skull and now make - this sort of curved lines and then here, - make a line. - It's following this way. - I wouldn't be too obsessive with this. - Nobody would be really helpful while you're painting for you to sort of follow these carbs - and to be mindful of them because you burst strokes are helping with the building of this - three D shape. - Here have a study found online off a Rembrandt's self portrait, - and it reads as a face when you zoom out. - And, - of course, - obviously it would rivas a face. - It's a drawing, - but he finds you, - man, - at least to me. - When I was starting out, - I was really surprised. - Hell, - Macy. - The broad strokes or pencil marks can actually be, - and after all, - it's just marks. - On paper, - it's, - I think it's crucial that you keep that in mind when you're painting. - Every painter is using a two D surface to quit, - something that looks three D and recognizable, - and they're doing this by placing marks on paper or, - you know, - Photoshopped canvas. - It doesn't matter. - But these air all marks that are following certain rules and creating a certain effect. - Simplest way to think of it is to look at the very the lines were starting out and a - curving following the perspective in the shape. - Finally, - one of the best ways to make sure that you achieved likeness is to pay attention to your - values. - As we've said already, - values help establish a three D form, - and if you have a layer that is filled with black and set on the blending mode color, - you will be saturate your image and you'll be able to see the values properly with this - image. - One of the things that that quickly notice is that the background is very light, - while the foreground and the actual subject, - which is elephant, - is very dark. - This contrast is what helps it read. - If I were to open the color picker, - we see that the background. - It's sort of a like made range grain. - The value of the elephant is very far removed from the value of the background. - Another thing I notice, - as I'm turning it on and off is that the actual orange orange light that we're seeing here - that looks like a sunset. - It's not changing the values at all. - Knowing this now. - This would really help me with choosing colors in the future and choosing the right colors - for this particular image. - Next, - I'm going to just call epic around and see what colors we have in this image. - As far as I can tell, - the main body is a great a sort of dark, - warm grain. - The orange like that we're seeing is much less saturated in Brighton. - That would have thought initially, - there's barely any colors on this image that reached the ends of the square. - There isn't any pure blacks or pure whites indefinitely, - no colors that are completely saturated. - If I were to take this really, - really saturated yellow and place it onto the canvas, - you see just how out of place it is. - So keep in mind these things and try and make this analysis before you start painting, - because this way you're going to enjoy your process a lot more and you're going to get the - best results. - And now let's get to painting. 7. Painting Timelapse (Part 1): - So now we're even three. - I'm going to do a voice over and let's get right to it. - This painting is taking around two hours and the recording he sped up. - So I started with a medium gray color using the pain bucket to. - And then I take my I take my brush and I put it at 100% capacity, - and I take it off pen pressure so that I can have a nice, - solid, - opaque block in. - I'm using a sort of a darker gray color to do that and to establish the silhouette of the - infant. - The way of building it is by using the racer to with hard round brush set again at no - paintbrush, - no pen sensitivity. - I'm trying to create an almost cut out shape, - and I'm constantly switching between the brush tool when they arrested two to try and - establish the silhouette properly. - I'm not concerned with, - uh anything more than just getting the silhouette. - And then after that, - I quit and you layer with a clipping mask and I finally start introducing some pressure - sensitivity Dean there and getting some gradations of grey I'm using very medium ranged - graze. - I'm staying away from whites and blacks. - As you can see, - uh, - this really helps me to get highlights and shadows later on properly by having a good base - . - I'm not really concerned. - We're getting likeness right now. - I'm mostly just trying to get a feel for the different shapes. - I'm jumping from part to part, - and I'm trying to get some texture and some different breast strokes. - I'm trying not to stay on the same part and to jump all over eso that I keep the detail - even. - And so I don't concentrate on one area at the time because if you put too much detail in - one place, - then you end up having to edit it here. - I'm using the free transform tool, - and I'm playing around with a composition. - It's one of the wonderful things about Photoshopped is that you are not stuck with ah - mistake or something that you just don't like about your composition. - You can always just go back at it. - I think that's part of the appeal off digital or for me, - at least now, - as you can see him still staying quiet zoomed out. - I've gotten a smaller brush and I'm using a much darker color so I can add in some detail. - But I'm still keeping things very loose, - and I haven't started painting the tusks yet. - I'm slowly introducing shadows and highlights anything. - It's very important to be careful with introducing shadows and highlights too early on and - concentrating on the's more, - um, - on these details because you can spend a lot of time trying to get things to look exactly - right when one of the really nice things about painting used to actually go with the flow a - little bit. - I'm constantly thinking critically as I'm being Dan. - I'm trying to make decisions, - but I'm not suffocating the process by overthinking every little stroke. - I'm sort of just trying to get over all directions, - right, - trying to putting some texture, - finally decided that it's time to add some color to the image, - and I've added a flat color for the background. - And then I and putting a new layer on color blending mode. - Putting it don't blues reducing capacity, - and then I merge them together so that I can add a little bit of ah, - blue tint to the elephant skin. - Then I decided to edit the contrast a little bit to levels and then create a new layer on - color balance. - And I created this sort of more orange version, - and then I raced through it to try and get that interesting. - Some set like light hitting the side of the elephant, - I decided to start working a bit on the background. - I try and not useful. - It's precious, - wore things like grass leaves on tree trunks because they create the very digital sort of - look. - And I try and learn about creating different textures through simpler brushes so that I can - teach myself and get better rather than rely on ready made rushes, - even though obviously they have, - their place is well. - I think, - however, - that especially if you're trying to learn it's best if you have a smaller number of brushes - . - So I'm trying to add some texture to canvas and also, - um, - varied open. - Add some lights and some darks, - changing the contrast a little bit, - adding some more vibrance because I felt that it was a bit too. - Though trying to see whether I could change the balance, - make it colder or warmer, - and how that would affect the image. - A colder background and a warmer foreground, - create a nice contrast, - but then having them off similar tonality would help with consistency. - Now that I'm sort of happy with the background, - I created clipping layer on top of the elephant, - and I'm starting to add some more detail on them. - Zooming in. - Now I'm trying to pay attention to the area and recreate some of those folds on those - interesting wrinkles. - I'm trying to look at the eye bone, - and we create that as well. - I'm trying to keep in mind whatever knowledge they have of elephant anatomy, - and I'm trying to think about the skull lying underneath the skin. - The I saw kids, - the forehead, - the draw, - how the tusk, - which is in fact the tooth, - connects to the rest of the skull. - Anatomy is very interesting, - at least to me and understanding how it shapes the face on top. - I also really like elephants because they have very interesting expressions and a lot of - texture. - I'm doing it very loosely and very quickly, - despite a challenge, - painting this quickly because they really wanted to start a painting from beginning to end - and show you guys how it sort of works, - because I think it can really help to see how something really messy later on ends up quite - detailed here. - I'm finally starting to pay a little bit more attention to the trunk, - trying to follow its carve with the way placement births, - strokes, - Um, - adding those final little touches to the silhouette because I feel that it was two big on, - not the right shape. - It wasn't detailed enough. - I'm trying to. - I had a little bit of highlights. - Some shadows make the folds more prominent. - So here, - finally adding those brighter oranges. - And I'm trying to do this using a color there. - I'm trying to do this using a layer set on color mood. - I was trying to do this really quickly rather than picking the color myself, - because I was. - I was really eager to speed up the process, - and I don't really like the effect. - I think I would have done a better job if I pick my own colors first. - So this is it for part one, - and I see you again. - Part two 8. Painting Timelapse (Part 2): - Hi, - everyone. - I really hope you found part one useful. - And this is part two. - Well, - in the previous sport, - we concentrated on establishing the initial shape, - getting the silhouette right and starting to put some texture here, - um, - finally starting to act in detail. - As you can see, - I'm allowing myself to Zuman, - but not too much. - I'm trying to stay very far away from the canvas and to see the overall image when I'm - placing these smaller over strokes. - I'm trying to follow the shape of this go. - And I'm not just placing them randomly, - um, - following the curvature of the skull, - trying to think about the way the skin would fold and whites folding that way and how I can - better represent sort of the essence of the elephant rather than the exact picture. - You can't recreate every single fold, - and I think that's one of the reasons why I chose an elephant in the first place. - It's because there's so much detail on the skin that you can only imitate the direction and - the flow of these details. - Rather than concentrate on every single fold and trying to get its position and angle - precisely here, - I see that some of these folds go but higher, - the their deeper and darker. - So I'm still using a chalky bush. - It's slightly smaller, - and now I'm using on almost black color. - But because I'm painting fairly likely, - I know that it's not purely black. - When I placed it on the canvas, - it's actually much lighter. - I still haven't been did the dust, - cause you can see we eventually get to doing that. - Well, - you saw that I painted this very quickly. - Um, - I think I recommend that you take your time with your painting. - You've probably noticed that throughout the entire painting, - I haven't introduced many new colors. - I'm constantly color picking from the actual image that really helps with consistency, - and it's beat the process. - Keep regularly zooming out to make sure that the image works well, - small, - and that it's quite similar to the original photo reference. - I finally decide it's about time that I paid the tusk, - so I'm making you layer not a clipping layer to make sure that I can sculpt in the same way - with the DiCillo at the Delfin. - I can place and opaque color and then erase, - and you are like the shape I started with a darker base, - and I'm slowly like thing, - you know, - um, - gradually changing the values. - I think it's a better way of building up shape. - Rather than jumping straight to brand highlights and dark shadows. - It is easier to control, - and it usually gets the best results. - I'm keeping one of the tasks on top of the elephant layer, - and then I'm keeping the other task underneath. - In this way, - Um, - I campaigned easily with big strokes without worrying that I'm going to ruin what I've - already painted, - and this gives you a lot of freedom. - As you can see, - I haven't actually color picked from the original photo reference because I really want to - make sure that, - um, - this exercise is useful and that I get to learn as much about color. - It's possible I can see that there's some orange glow to the bottom of the tusks and trying - to create that, - but I don't want it to be too obvious. - I think it's really important that you experiment and you go with your intuition, - even if you don't get the best results. - Initially, - I decided to add some of that sort of dirty texture. - Look to the tusks and used chalk bush. - And as you saw, - I. - So I used really big marks. - And then I raced into place to keep its texture rather than using really small brush. - I'm trying to make the brushes do my work for me because I'm trying to paint in such a - hurry and often enough bushes alone can save a painting. - But they do have some lovely textures. - The first brush can have really painterly feel. - I really like that. - One of the things I should have done during the painting process was I should have flipped - damage a lot more often, - and I should have used a black Claire seven color mode to they will check my values. - Um, - sometimes I get stuck in the actual painting and the rendering, - and I forget to check myself. - Now that I recorded myself, - I see that I should be following my own advice a lot more, - but it's important that you don't make the same mistake, - and but that you're actively thinking about what you're doing and that you're being - critical while you're painting, - because this way, - you're gonna have the best results. - Um, - I was having a lot of fun trying to follow the the actual texture on the photo. - And I really liked this photo because I can see how skin and wrinkles of the skin are sort - of defining what's underneath, - and you can see where the me is, - and you can see where the label deal connects to the body and re creating. - This was They're interesting and very fun. - I hope that you've chosen a photo you really like and that you're going to enjoy this - process. - It's, - um, - quite time consuming and a little bit frustrating at times. - But it can also be very, - very fun and can be very satisfying. - Make sure you keep your for around in your background in separate layers because otherwise - you're going to have a lot of trouble with anything. - I do one or the other, - and this is the end of Unit three. - Really hope that you enjoy these videos and you've learned something. - You I can't wait to see your progress, - and I'm going to. - You really enjoyed giving you feedback and seeing, - um what? - You fainted. - We'll see you getting union for 9. Blending Modes: - how everyone. - So this is the final image, - and I'm not perfectly happy with the final result. - It feels very sloppy to me at least. - But it took only two hours, - and I really couldn't spend much more time on this image because skew sure courses are - supposed to be quite quick with me. - I don't like the trunk of the elephant. - I think it's a little bit too textured. - So for me, - at least, - the focal point should be around here and all the detail in the trunk. - He's distracting from the thing that viewers should actually be looking at. - And this goes to show that once you paint something, - you can always go back and think about what could be done better. - So even if you don't wanna go back to the image just finished and touch it up, - it's perfectly fine to just look at it critically. - Spend some time thinking, - What could I have done better? - Because this way, - you're gonna learn from the things that you do, - and you're not just going to repeat the same mistakes over and over. - I tend to go crazy with texture, - and I know that I do. - I've been experimenting with breast strokes with textures with color, - and I think that's part of the fun aboard. - You might as well enjoy your time. - Might as well learn as much as you can and have fun with it. - But let's go back to, - um, - actual technical things. - There's some final little tricks that professionals do independent with image that you're - working on. - They can be appropriate or less appropriate. - But I'm gonna show you most of them on this image, - even if they're not necessarily right for it, - so that you know the little things that you can do to give your image a little bit of a - boost. - So the first thing that I did was add a little bit of texture. - As you can see, - it lights up the elephant a little bit, - and he changes the births strokes of erased parts of it. - You can play around with the blending modes. - It's sort of like a glaze, - and depending on the blending mode, - you get completely different results. - Most artists who basically just tell you to experiment with them because they're a bit - unpredictable. - Generally speaking, - if you want to light and something up, - you put it on overlay. - Lighten soft light. - If you want to darken it, - you move it to darken. - Multiply if you want to. - One interesting one is color, - and we've talked about it before. - When we place the black layer on top, - it's one set to color, - which basically means that it doesn't affect the values underneath. - All it does is turn it into blackened way. - If you know I changed this so that it's clear if I change this layer two pink all some day - elephants gonna become this atrocious being color. - So this is what color does, - and it can be quite helpful. - If, - for example, - let's say this is another need. - Little trick If I go to color again and I take a brush sometimes my sometimes my photo shop - is another responsive up. - But take a brush and let's I feel that the orange here's a little bit too. - Uh, - let's I feel that the orange here is just a little bit, - too. - That's a cold or warm depends. - Let's say I want to warm it up a little bit. - I wanna boosted and making Pinker. - Then I can do that like this. - Obviously, - this is a bit too strong. - But let's say I want to just changed color wouldn't make this numbness and lighter, - more saturated. - Or let's say I think this is to saturate. - I can go over and make it less I traded, - and depending on the values that you have underneath, - the results would be different. - So from that I have the same sort of dis saturated beige orange. - And if I place it here where the trunk is, - you get this really ugly, - horrible orange court. - This is because color mode, - the color blending mode, - reacts to the values underneath. - So you get best results by playing a light color on top of a light value like here. - But the second I moved somewhere darker over something, - get this really, - really strong orange, - so blending mounts can be quite difficult to wrap your head around. - But at the same time, - that can be a very useful tool, - and it's really worth just experimenting and going into then, - um, - another cool thing is actually just taking your brush and changing it's mode if you don't - want to be painting on a particular mount, - but you just want to do a little bit of an edit. - You can always just go here, - and I'd say I want to go to overlay and I want to boost the color a little bit. - I wouldn't do that. - So let's, - um, - do But, - um, - it's really helpful in playing around with the different modes. - Um, - they really help, - for example, - with depicting light or shadow, - for example, - color dodge. - It can just add that glow to things can make and pop a lot more. - Um, - so if I moved on to, - let's say, - multiply and I choose a usually these work best buy color picking the color color, - picking the hue than you already have place, - rather than just choosing one directly from the color palette. - For example, - if I want to just boost this color, - have already selected it, - I will multiply now. - And I'm using this much darker, - stronger version of the same color. - And this is very, - very, - um, - this is obviously very exaggerated. - It's because I know that recordings generally don't show subtle differences, - so I will never do it this strongly. - Quite a lot of it is actually giving these tusks a little bit more definition and combined - with this lovely texture, - brushy get interesting results so that if I think it's too strong, - I can go back to normal color pick and then just soften the look a little bit more and just - play around. - Like though you'd be surprised how much time can be spent on just detail. 10. Gradients and Adjustment Layers: - nothing you can do is use a little bit of ah, - dark Grady int. - She would take a dark color and dark green can degrade into select. - Be careful which option you choose. - Depending on on them. - Your great aunt will have a different shape. - It could be linear. - It could be circular. - It could be cylindrical, - and so so what you can do is darkened the edges a little bit. - This is still too strong, - so I'd say I wanted to be on darker or minimal deploying, - not place too strong. - We go to dark hell and then we just reduced a little bit. - And I keep It may be this strong, - and what this does is it draws the eye a little bit more to the focal point. - Nothing you can do is pick a white gray and set to circular, - and I I want use pure white. - Maybe go for some sort of a tinted white, - maybe cooler blue. - Let's sing, - and then you just make up your drag and make a greedy int. - If you don't like where it's positioned, - you can drag it. - You can stretch it by using control teas, - we said before, - Let's say I like it here. - And then let's play around where the different notes I could go for lighten. - That doesn't make much difference. - That changed here a little bit. - Color Dodge is going to go crazy. - Um, - overly. - As you can see, - this is a little more subtle one. - Overly, - a soft light would be another one. - That makes the blow a little bit. - Dollar. - I think I prefer the stronger one on overly and I could reduce. - I could reduce to fill or everything. - I could do it. - I will take an eraser and I'd say, - I want this to be a little bit more subtle. - All right? - I want this to be quite sharp so I can make the shadows. - But about war. - I don't think I to be darker. - And let's say I want this area here to be a little bit darker now if we were used to - capacity a little bit, - it's a very subtle difference. - So if I zoom out, - let's see. - Is it too strong? - I think you might be making a little bit too blue, - so you can just reduced a little bit and I would just have this little glow so another - thing we can do to the final images just play a little bit around with levels. - We can make a darker change, - the midterms again making lighter. - I generally think you shouldn't be relying too much on these to change a contrast, - because very there's a can sort of break your color and is we've discussed, - if you change your shadows to black in your lights toe wipe. - So I'm thinking of like that just a little bit. - Not too much here. - So if you don't want to destroy your image by making adjustments directly on it, - one thing you can do is just duplicate damage by holding it, - pressing the old key and dragging it either up or down. - This will create a publican. - Make sure you should like the one on top, - and then you can just make adjustments directly on it. - Whatever you choose, - um, - that's increased vibrance naked, - and now you can slip between both of them and see what effect this is hard. - Another way of doing this non destructively is to create an adjustment layer so down below - , - where you create a new layer on your folder, - a layer mask and so on. - You can make an adjustment layer and adjustment layers. - Just create a layer. - Derek found up everything you have. - So let's say I want to increase the brightness and the contrast of this image. - I can switch this on and off. - It's separate. - It's on a separate layer from our final image. - The only drawback of using adjustment layers is that they affect everything you have - underneath the adjustment layer. - So this is affecting the background as well as you can see. - Another thing that's useful about the adjustment layer, - however, - is that it acts like a mask. - If you've ever used a mask, - you probably already know that white reveals and black heights. - So if I paint on this land mask with black now, - I can erase some of the effects. - You know, - as you can see here, - you see that them painting on it. - You can only paint on these with white and black, - but it's a useful way off playing around with, - um, - your adjustments and changing them up a little bit. - We down having to basically, - um, - rely on the effect to be perfect from the beginning, - because if you want to like in certain parts of your image. - That doesn't mean you want a light on the whole thing. - And I can just talk about it on and off and see whether you like him, - not. 11. Textures and other tips: - So let's bring a texture and I'm gonna drag a rock texture onto damage. - Um, - you just click enter and it's going to accept Textures will be brought in just like any - photograph is smart objects, - which means that you can't initially edit them. - You will give you a message that is gonna ask you whether you want Rast, - arise it or know the benefit of living. - It is a smart object initially, - is that you can stretch it or make it smaller and you can accept this changes. - And let's say I want to make this image again. - Make it so now we use the texture. - Similarly, - I'm going to drag it on top. - I'm going on, - zoom out and rotate it. - I'm going to play around with a different boat again Here just usually like to scroll - between them with the arrow keys because I get to see very different effects like this one - , - for example. - A lot of these can end up being quite interesting and as you see, - color dodges doing that exact thing. - Where brings this really strong highlights into your image? - So color dodge, - you're gonna continue scrolling between and you could just keep scrolling between these and - see whether you like any of them for me. - I like this one a soft light. - And now I'm gonna take my racer and and I'm going to turn the layer on and off to see where - it ends or starts, - and I'm gonna just erased to soften the edges. - So my brushes on fairly low capacity Ah, - like crop pictures because they create a feeling the great looks similar to wrinkles or - veins. - And in the original image dog elephant has really defined veins on these ears, - and you just planted texture and by racing through it, - careful not to delete too much of the texture. - But it should also blend in nicely, - so it doesn't look like you actually have a photo texture on top. - And in two of us skill, - this interesting sort of textured look. - Nothing we can do is Nick and your lamp se image. - Apply image, - and this will copy everything you have on two separate lives. - If I turned all of these off, - you see that everything's being moved to its own layer now, - depending on which layers air on troy control shift See Control V and that's going to - create a later copy. - I sort of prefer apply image. - But as again, - Photoshopped has a lot of different ways of doing the same thing. - So here, - for example, - I like to go again to color bounds and just play around with sliders a little bit. - Get different looks. - No. - One. - The image to be warm are wanted to be sort of Blore. - I am sort of looking for different ways to make it interesting into blend better. - I don't want to make it to yellow because this one, - I'm gonna lose a lot of detail. - But if I leave it to glue, - perhaps it's not consistent enough. - Yeah, - I think that's a little more contrast, - and it's sort of blend it all together nice and you can choose Grady in. - And let's say I want to add a an orange color to image. - I can take my Grady and to take my great into, - and I can play around with adding extra car onto village and getting different effects. - One of these can be very instagram e, - and I can add a very interesting look to image. - I like this from this. - A scream like this one would like, - and I really like this one. - We just pin light. - But what I like body is when it's really, - really strong. - And that can be really bad idea. - Um, - so one of the other things you can do is go filter sharp and then sharpen your image. - This will make you birth stroke seem a little bit stronger. - Another thing you can do is go. - If you had a lot of stuff in the background that is very rendered but you don't want it to - be, - is obviously conduced blur. - This salad would look like if you keep blurring what we want. - The very subtle blood probably around three to maybe five pixels. - And the good thing is you you get to preview the changes you makes. - If I go to 33 fixes, - I can see how strong it will be before I applied effect, - as a lot of the adjustments and filters are in photo shop. - So if I keep it at five, - we can see that it smooths out some of the lines in case you have an image where you want - to create motion. - That's a running Cheeto, - something you can go to filter Lauren motion blur, - and this was really cool because you can change the angle at which it's being done. - So if you have horizontal motion, - you can create that the blood horizontal. - If you have article emotion, - you can make the blue vertical. - They can create the very cinematic look. - Obviously this image, - it doesn't really work very well. - But in case you weren't doing some sort of a more motion or ended image, - it's a nice little effect. - So this is the final image. - Thank you so much for signing up and being a part of the digital pain things, - techniques for beginners, - and I really hope you found this course useful. - Please feel free to leave some feedback. - And if there's something you dislike about the course, - you can leave a comment in the forms. - And if it's something that a lot off your classmates would find useful, - I could probably even create an additional video or linked to a useful resource and explain - anything that might be confusing to you. - I can't wait to see your final images, - and I'd be really happy to give you some feedback. - Thank you for watching