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

Paint What You See - Intro to Digital Painting

Ina Tsetsova, Illustrator

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

      5:35
    • 2. Choosing a Good Reference

      8:02
    • 3. Some Color Theory (Part 1)

      7:08
    • 4. Some Color Theory (Part 2)

      7:13
    • 5. Some Color Theory Part 3

      9:07
    • 6. Analyze Your Reference

      Eléphant_portrait.jpg
      8:34
    • 7. Painting Timelapse (Part 1)

      8:43
    • 8. Painting Timelapse (Part 2)

      7:07
    • 9. Blending Modes

      7:03
    • 10. Gradients and Adjustment Layers

      5:30
    • 11. Textures and other tips

      elephant.jpg
      7:31

About This Class

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

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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. 

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

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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.  

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Transcripts

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