Photoshop - Take Your Sketches to the Next Level | Brandon | Skillshare

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Photoshop - Take Your Sketches to the Next Level

teacher avatar Brandon, Artist & Designer

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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

9 Lessons (51m)
    • 1. Hello

    • 2. Taking Pictures of Your Sketch

    • 3. Taking More Pictures

    • 4. How to Paint with Your Line Work

    • 5. Straighten Up

    • 6. Painting Process

    • 7. Adding in Photos from Real Life

    • 8. Lighting Effects

    • 9. Assignment

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About This Class

In this class you'll learn how to take your pencil drawings from simple sketches, to amazing digital illustrations. We'll also discover how to take pictures from real life and how you can apply them to your paintings. Join Brandon (me) in this fun, laid back class.

Meet Your Teacher

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Artist & Designer


Hey everyone! Names Brandon (aka Kitten Bombs) and I'm a digital artist. That's short for graphic designer, digital painter, illustrator, etc. etc. etc.

During day I design monuments and headstones and at night I digitally paint and make classes.

Keep up with me and my art.

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1. Hello: Hi, guys. How's it going? Eso I'm just here drawn this dresser remind. It's actually not just a dresser. It's my desk. It's been my desk for well over a decade now, which is crazy, actually, I should probably upgrade. Yeah, I'm just sketching it because, you know, I had a moment of I don't really know what to draw, but I should probably be drawn for me. This dresser does mean a lot to me because it's been with me for so long, and it's provided a service of being a desk, and it was really helped me out. So this is my way of showing my appreciation to it. My appreciation to this lifeless object. I'm starting to get to a point where I'm really satisfied with the drawing, and I started out with this is just simply a sketch. Just a sketch Didn't really plan on taking it much further than that, But I'm actually kind of like in how this turned out. So I think I'm gonna continue it a little bit further and throw it into Photoshopped and add some color. And maybe I'll start diving into, um, some textures and stuff as you can see right here up in this corner, I got, like, three little pictures. Well, those air actually pictures that are painted on like little pieces of cardboard and they're hanging up on my walt over there. And instead of like, painting those in, I'm just gonna take pictures of him and kind of use just a little bit of photo manipulation along with digital painting Teoh overall illustrate the concept. It's quite frankly, I've already painted those. Some gonna do it again. I mean, I could, but that's that's not important for this sketch. So if you want to see how I've taken this sketch and taking it from a little pencil drawing like this and turned it into something like this looks good, doesn't it? How it looks good? I don't know. There's nothing here because that's that's all done in post its I haven't done it yet. That's just what it's going to look like. I haven't I hope it looks good, but if you want to know how I got there, stick around and I hope you enjoy the class 2. Taking Pictures of Your Sketch: uh, all right, eso this next part's pretty easy. Um, and that's just taking the picture. It's really, really not that hard. Um, I'm not even gonna use my canon that I got over here recording. I'm I'm just gonna use my iPod. So now I would hope with the, you know, this new agent digital technology that we all know how to take a picture. So I only have to go too far into that. Yeah, it doesn't have to be any expensive equipment. We're just getting pretty much the line work. So just make sure that you don't have any, like, harsh light or anything that's gonna, like over exposed the image so you don't get all those lines that you worked so hard to create. Luckily, today we got a nice, cloudy day, and it's letting in all this diffuse light, so there's not gonna be, like, really harsh shadows, so I mean, and there's a little bit of shadow from from this light. Turn that off so you can see like it's really soft, um, like, over it. So if I'm far enough away when I'm pointing this up, I'm not gonna see like any any kind of shadow from my phone, so that's good. That's about as much understanding I have with light. So just when you're taking the picture, make sure that, um, you got some decent lighting cloudy days or great. Um, it's a nice natural lighting, so I'm just gonna or of this, just try to level it up. Make sure that, you know, it's a straight as I can possibly get it. I don't wanna obviously don't be a turning like this because, you know, everything is gonna be distorted. So I was going to try to be straight as I can, so it looks good and snapped the picture. I'll go ahead and take a few more scan through those, uh, here in a minute and see which ones turned up best. 3. Taking More Pictures: okay. Just like we did for the picture taking of the sketch. We're going, Teoh, take the picture off. Uh, the little paintings that I have over here that I'll be including in. Like I said earlier, I have those in my little sketch here. So instead of just redrawn those in, I'm gonna just take pictures of them, and then we'll, uh, cattlemen later and put us up. So I'm gonna go and get those pictures and the doctor here and in cash shadows from the light source. I don't right now, but these are just a small part of the operation. Don't you worry about those I feel like I usually do. It will be just us all, for that matter, because this is incredible. And it would be absolutely crazy. The amount. All right, here we go. 4. How to Paint with Your Line Work: Okay, so I've got the picture and photo shop now, and I'm just gonna go ahead and optimize it. So it's a little bit better for when I start painting. Um, and the first thing that I want to do is crop crop. The campus Really? To get rid of all this extra information around here on the edges. So I'm gonna hit the this krockey. So see? And now I'm just gonna kind of get rid of all that, and I'm probably overcompensating just a little bit, and that's fine. Now, what I'm gonna do is put my levels with control l and just adding a little bit more white to the canvas. Teoh kind of clear up some of the noise here, um, and then may or may not work like I thought it. Because what we're gonna do is we're gonna set this layer to multiply, and we're gonna drawl underneath the layer. So now when we draw underneath on the garden color, when we draw under knees, you can still see the color that we're producing. And but line work over top of it. Now, I got a lot of shading going on. Uh, with this piece, so it's kind of distorting my color of it so far, you know, like me always color picking my colors. Eso if I picked this color from down here in the shaded area is gonna change my color, and it's gonna keep changing it, um, and that that's not really what I want. So that's why I did the levels. But I had somebody shading in this. It's really, really not gonna work unless I want to really overexpose this, which I don't. So, um, if you're really clean with your lime work, you can do the multiply, um, method. I use it to check my work. I don't use it. They're constantly What I like to do is do pick like this layer, have it on the bottom. And I could just keep it on normal really on and have it look, eso that I don't miss with it at all and then draw on top of it. And you see that if I get too carried away with drawing on top of it, you know, I might kind of lose myself and not know where my line works originally. Waas. So I could just turn this on real quick, on and off and kind of seem once again Oh, his tales. This cat's tail is not hanging off the edge that fit. It's really thin, so I can refund that as needed. So hopefully that illustrates it. And this image is a little distorted. So in the next video, we'll show you how I'm gonna fix that. 5. Straighten Up: Okay, so I'm gonna pretend like I know what I'm talking about here on. Hopefully, hopefully most of it is that Crist, but you never Fantail is still still learning. Okay, so we got a two point perspective going on here with the dresser because we got ah, point all the way over here, and I'm going all the way over here and those that each side of that dresser is going off into those points. Um, To play perspective. When you have two point perspective, you have vertical lens and dying alone's. I don't know if it's safe to say you have horizontal lines like horizon. I think I don't. Okay, anyways, I'm not gonna get too much into that, but so the dressers, like extruding from the ground bear with me here. It's extruding from the ground. And when things extreme up, uh, those should be vertical ones. If they're diagonal lines, then you're creating the illusion of a three point perspective. And that's not what we want with this. So I can tell that they are di analyzed by just looking at them. But just a check. We can grab this guideline over here, and look, I mean that guidelines pretty much straight. Like it's right on that straight. I think we can agree that is straight. And that that very far edge there of the dresser. It's It's Cohen, like, way off in the direction. And that's not what we want. And you can see by, um And you can see each one of these edges here, these three edges. This one, this one in this one, Not straight and all. So to fix that, we're gonna hit our krockey. Let's see. And we're gonna go. Appears to straighten. Um, there's click on this little out rectangle. I I don't even know how to describe it. The straighten key. Um, And then what we're gonna do is we're gonna It doesn't really matter which one you pick, I think. But we're gonna pick one of these mine one of these edges here, we're gonna draw the line on it. So we're gonna click and hold, uh, here at the corner there running. Draw a straight line to the next corner. Look what he did. It straightened it up for us. Basically, how that works is you find a line that, uh, you know, at a high angle or something that should be straightened. You draw a line on it and that tells Photoshopped, Hey, this lens, this one should be straight. Going straight up, I mean it straight, but single straight up. I didn't make that clear. I think I don't know, but he's going straight straight up, not at a diagonal, all right. And so if we check this, we can see straight there, right there. And even over here, it looks fairly straight. So there you guys have it. There's a fairly simple way of fixing the image. And I don't think that was from majors drawing like really bad lines. That was probably from when I took the picture. It distorted it a bit because I didn't angle it that well. But luckily, photo shops got us covered and can easily fix that up for us. 6. Painting Process: all right? Yes. So the first thing I did here waas a drowned my perspective guidelines. And the way I did that was with the polygon tool over there in the rectangle dropped down area. Um, basically, you choose the polygon tool and change the settings to star and make it ended by 99% and then set the sides to something some kind of relatively large number. Like for may I chose 100 for this one. Um, and that just is how many lines are extremely from that star. If you want to learn more about all the basics and all that, check out my class on digital painting for beginners. I think that's what it was called. Okay, so the first thing I did after that was I kind of just started blocking in these colors and I'm drawling over top of my sketch And underneath my sketch, as I demonstrated earlier, and you'll notice every so often, I'll be turning on that top sketch layer. Um, that's set to multiply just to see where my line work is and making sure that I'm relatively staying true to my sketch. Now, when I first drew the uh, perspective guidelines. I realized that dresser was very wonky. I didn't use any kind of guides. I kind of just eyeballed it when I was sketching. Once I established my horizon line and drew in those perspective lines. I knew immediately that that dresser was distorted as faras color choice. To be honest, I didn't really think too much about color. I was mostly focused on just this value. Correct. I establish my lights and darks. So there, on the left side of the dresser, I said to myself, Ok, that's gonna be like and everything on the left side of all these objects is gonna be like and on the right side, on the front, facing parts of these objects those they're gonna be duck. So when choosing a color, I wanted to make sure the values for the right side were lower and on the left side were higher and wanted to keep those two separate. Those two different value ranges also wanted to use a limited amount of black in this piece . And that's simply because I I understand that I have this terrible habit of using plaque, and I think that just becomes with being relatively new to digital painting and blacks addicting so and white could be addicting as well. But I make my paintings really dark, and it's really not the case in real life. You don't see this jet black like anywhere in real life if you want to make something darker than put something light next to it. And I found often that by doing that technique it has greatly improved the realism and my paintings. I had to keep reminding myself, This is diffuse lighting, and usually when I draw a cash shadow, it's really hard. Um, so for this one, I was, like, got to re self with those transitions from light to dark. So when there was cash shadows, I wanted them to be really well, blend it with on the light sides. As for the cat, that was really a last minute decision. Um, he had just jumped up there, Um, right as I was finishing it. And I was like, Even if I can't draw him right, it's worth it to put him in there because he communicates so much story to this piece. Um, without him, I I don't think it would be nearly as interesting as as it is because there's really no story element. Viewers aren't really sure what toe look at. Um, I think and I think I haven't him in there definitely definitely improves the overall, um, composition. It doesn't matter about how poorly drawn, um, things are. It matters about the emotion that you're communicating. And, um is that emotion communicated to the viewers? Alright, how that makes sense. And hopefully that's not too cheesy. That's kind of how I I think about going into ah, are is, um don't worry about the struggles. Just draw it. Then. What I'm not saying is be lazy. You definitely should still learn how to draw and work really hard at it. I mean, drawing is one of the basic fundamentals of art, and for me, it's definitely something I struggle with, Um, but I'm not gonna let poor drawing limit my artwork because I know that you can illustrate compelling emotions with abstract art. Throughout the painting of this piece, my cat would come and jump up on my desk and look out the window. And I'm glad he did, because it allowed me the opportunity to study how the light was affecting him. I didn't get I wasn't able to get too much, But one thing I noticed Waas. His back was lit, the lights coming in from the window and hitting like all of his face. Wouldn't that be where full light is only hitting? So after studying it for a bit, I Where is this light coming from? And I realized well assumed that it was coming from the ceiling because I looked up in the ceiling was fairly bright, and I guess for some reason, the the light source from outside was was hitting the ceiling, and that light from the ceiling was bouncing down onto his back. I thought that was interesting, and that really kind of was in my favor because he was kind of blending into the background a little bit. And, um, having that contrast of putting light next to dark really helped make him stand out and give them a better silhouette. So with that, I definitely recommend learning as much as you can from real life and stealing what you see from real life. It's OK, it's okay, and you don't have to always be limited to what's in your head because you're arts gonna be limited if you don't take the time to get out and actually study the world around you. So you always got to be on as an artist. I think for May, every time I'm outside, I'm looking at the shadows. I'm looking at the light source. I'm studying, you know, the subsurface scattering in the leaves and all this. Ah, all this amazing beauty in the world and I'm taking notes. I'm taking mental notes in my head. Um, sometimes mental notes are enough, and sometimes I'll need a photo references or or some other kind of means. But always try to do as much as you can. Even when you're not painting Teoh, gather much information as you possibly can, so you can have that information to pull from later. When you're painting 7. Adding in Photos from Real Life: my head is going crazy. A door. I'm trying to do a thing. Hey, guys. Okay, so we've just got finished drawing, and I went ahead and put my poster and paintings up on the wall. Um, because I actually did all part of a demonstration, but I have a technical difficulty and didn't report it. But that's fine. That's fine. I can just do it again on and we're just gonna do it with the poster, because I think doing all of I was probably gonna have to edit it down anyways, because it it can get kind of repetitive and boring. So let's just do this poster here less. I got it here in this group, so I'm just gonna hide it on now. How do I get that poster there? Will. First, we've got to go to our image of that poster we get our image in. Uh, it's looking a little distorted. As you can see, we want straight lines with our edges here. And as you can see, if I pull this vertical guideline over, you can see that it's not straight like these edges going way off in this direction. And we don't want that. So let's fix them. We could try the straightening tool like we did with our sketch and that may or may not work. I've already done this, so I know it's not gonna work. And that's because the image is distorted from not just the rotation, but, um, the angle as well. That makes sense, I remove. It does, but it is distorted. We can get a relative. As you can see, we can get a relatively straight side with that straightening tool, and that works great. But over here, this other edge, it's not. It's not straight. So if we do the same technique with straightening tool again on this side, it's just gonna kind of flip our campus around and not really resulted in the effect that we want. So we're to fix that. I'm gonna go ahead and have it straightened on one side. They won't allow it to crumple the way. Make sure that you have delete crowd pixels off so you don't end of cramping on and deleting some of that information that you may need so many. But in a truck, that and now we're gonna hit control T for our transform tool and well, first, let me let me draw a guy over here so I know what I'm working towards. Put that right on that corner right here. And then we're gonna control T to transform. They were gonna hold control and then click on this bottom quarter edge Quicken hold and kind of just dragged that out. Hold shift so that it's going straight straight across. And you see, I get that edge, they're pretty straight. I'm gonna go ahead and, uh, make a straight to the of the inside edges of the poster said, not the border. We'll have to recreate the border, but, uh, yeah, there we go. Eso We got straight edge there and let's check that. And that looks relatively straight for me. So that looks good. So I'm gonna go ahead and hit intern. And now let's trick the top. The top news, a little bit of work as well. And how about bottom also needs a little help. So let's do the same thing. There are control t hold control problem on these edges and drag this one up holding shit for this one as well. So it's going straight up and nowhere else all right, there is that fix, and let's do this one as well. Okay, that that looks fine. For would I need s o. I'm gonna go ahead and crop this to a nice straight rectangle around these edges. Uh, and like I said, we'll recreate the border so that we can accurately represent the poster on the wall, because for this, one will have to believe it. All right, there. So now we got a nice shot of our post, sir, with nice, clear edges. And now what I'm gonna do is hit the crop key one more time. I'm gonna go apparently crop pixels, and then I'm gonna hit, enter and enter. And then what that's going to do is to lead all those all that information that's hanging off that's bleeding off the edge and give us a nice clean rectangle, because that's what we want. That's what we want for this. And then before we drag this over to our project, let me show you what I did first. And that is, um let me here. I'm gonna pull up my guide, so I know where to put it. And what I'm gonna do is kind of place down a container for for the poster so I can go ahead and get the perspective part out of the way without morning about have to do that with the actual image later. So I mean, we'll still have to manipulate image just a little bit. But it's nice to have a nice clean guide already on the page for us. So that's what we're gonna do. We're just putting down in a container guide if you live. All right. So first we're gonna grab are shaped tool over here rectangle, schaffel, Um and we're going to just pick one of these. I wanna have it align with this. So may fix my perspective here real quick. And we only need this this right side perspective lines so and it transformed. Just rotate that so it otherwise relatively close to the top edge of my painting. Okay, that's relatively close to the painting. So let's grab our rectangle again. And we're just gonna draw a rectangle on the campus relatively the size that we wanted at. And now we're gonna just lie that up with the perspective guidelines. And to do that, I am gonna hit a or you can go over here and click on your past selection tool and make sure that it's the white one that's selected so that we can grab. These edges are quick by one of these, and then I'm gonna use my arrow keys to hit up, and it's gonna give me a little message. We're not gonna really read it. We're just going to say yes. And now I'm just nudging these little points into perspective guidelines. And I'm just using the arrow case here. Up and down. Makes it really simple. Okay, that looks really okay. Um, maybe I could just make it a little bit wire. So I'm just gonna kind of I'm gonna do these two at the same time. So I don't let their straight Just gonna hope ship and hit the arrow keys over a few times . And then I needed niceties back down into place. Sorry. I'm going too fast. Okay, let's just take a look. It that it was so much bigger. All right? Me? Just Linus toe. What? I already has those really happy with it. Okay, so we've got our nice little placeholder there. So what about the laptop, though? It is, uh, the posters overlapping, and that doesn't make sense. So let's fix that. There's several ways of going about fixing this, but this is this is how I did it. I took my lasso tool, the polygon last. So So the layer that, uh, all of my drawing time. Um, I am going to take a chunk of that laptop out, so we're gonna just We're probably gon last. So do an outline rough little outline of the laptop. And I don't have to get any more, um, of that laptop than what's over being overlapped by the poster. So now that we got our selection, I'm gonna hit control J to duplicate that selection. Now we got to like a little chunk hanging up. I mean, he controls you. Put that backward, waas. And I want to make sure that is overlapping the rectangle, remembering a right now. Okay, So let's create the border. The first thing I'm gonna do is he controlled J so that we have another shape player. I'm gonna go ahead and rest arise that the and then I'm going to change the color so that we can tell apart from the yellow, Um lair. Um, next, we want to select the square. So hit control are hold control and quick on the layer on the little square part, um, to select the all the information that's on that layer. So that would give us a nice clean line around our rectangle. And then we go to select modify contract. I wish I were the preview for this, but let's see what 20 pixels looks like. Um, it's pretty good, actually, that's pretty close to what the border with actually looks like. So now that we got a nice clean edge around 28 20 pixels with all around eyes proportionate so that's why we did it that way. And so just scaling it down because it was got it down. It may, uh, end up looking a little distorted if if I am correct there, but eso we contract the edges, keeps everything in line where it should be. And now, um, if we we want to invert the selection so that we have that border so hit control shift I and that will invert e selection, and then we're gonna hit just simply delete. And that's because, uh, so make sure that you rest, arise the layer. See that you can do all that because the shape wouldn't work with with that, that meant that wouldn't work with the shape. Okay, so look at that. We got a nice clean border. The colors are a little walkie, but we're not too worried about that right now. We're to support about proportions. Okay, Now we're going to bring in our poster, finally, and it's really big, so that's great. Um, what we want to do is create a clipping mask of this layer so that it is being contained in the green later, just to make things a little bit easier. So I'm gonna hit all hold all. And in between the green rectangle we got here and the layer, make sure they're right on top of each other. And then we just click right in between. And that makes a clipping mask. And look at that. It looks fairly decent, right? But there's still little work. So, um, we're gonna hit control t to transform, and we're gonna hold control and just drag each one of these corners to the corner. The poster. All right. So now we have our border. It's the wrong color. So let's go ahead and change that. Um, now that we can focus on and we're gonna collect click on the rectangle, we're gonna hit a, um t bring up these options up here and changed the field color toe about a great because it's white in real life. But over there it would be in that lighting situation. It would be a little bit more gray. And now the poster itself is a little wonky because of the color over there isn't being matched. And so there's several ways that we can match the color with the same kind of way we have on our illustration. But what I did is I'm just de saturated in a bit because over here on this wall, it's kind of in the shadows, so I just decent aerated and for the most part, that that seems to do the trick. Um, and then I can bring down the lightness of bit. Okay, so that works pretty well, so but it doesnt look completely in line with the rest of the painting. So let's try to fix that. And this is this is how I'm gonna handle this. I'm in a group. That's all that information is there. Keep it all together. I'm gonna take a chunk of this wall. I'm just gonna last go around it where the poster would be. And then I'm gonna hit control J. And then I'm gonna hover it over. Top, as you can see is over top of our, uh, poster. And then we'll change that blending mode, toe multiply. You can experiment with this. We can try overlay if we want, but I think multiply looks best, uh And then I'm gonna make that equipping master, that group that we just made for the whole poster. And let's just let's just go ahead and scale this up a bit. That's a little too dark. So let's bring down the opacity and weaken turn on our Hughes and saturation layer that we got here at the top to check our values. Basically, what I'm looking for here is just so that it's not blaring. So if it was that zero, we could tell that that that post was kind of standing out. So I just want to make sure that it's roughly the same color as the background. So something something along those lines. Maybe bring this saturation down just a little bit more on the poster and the border. I'm actually thinking that could be a little bit wider. One last thing I don't want to show you is that I was working on before I realized everything went to shit on my computer. Waas the depths created over here. As you can see, I've already got this completed with with this one. But there is some death. It's not completely flat, like the post serious. Um, they are kind of set pieces of card word on the wall. So I want to illustrate that, um, the best I can, and that is simply just going to take this one. I'm gonna duplicate it. I'm just gonna change that color, darken it a bit. Then I'm gonna bring that layer below, and then I'm gonna just nudge it over of it and down a bit. And that's because we are seeing So it's overall, the right at the top of the horizons, how we're going to see the left side and bottom side of that piece of canvas. And since our light source is over here, I've made the call that everything on the left side's gonna be hit about light. So let's go ahead and brighten up the left side, and we're gonna use clipping mess for this as well. Um, well, actually, we can do this a simpler way that using clipping mask, I could create a new layer control on top of that and make that clipping mask Teoh the that part of this image. But I can say that save a step and just go look here and hit lock transparency of things with his coat. Yet what transparency and what that does is when I draw on that layer, it's creating that that mask already so that that's just one other way of handling that. And there's a simple way to create some death. Obviously, if it was a little bit more extruded from the wall, we would probably have Teoh go a different route. But for something very subtle like that, just duplicating that layer and bring it below in nudging it all over of it works great. And since we're talking about adding textures and pictures in this section, let's go ahead and fix this monitor a bit on. What I like to do is bring in my own artwork, as you can see. So let's go ahead and open up. Um, one of my recent pieces there's a little pixel art. Um, that I did not too long ago was my first pixel art too, So really enjoyed, uh, making this great, great lot's of fun there. Um, So we're gonna hit print screen, and that's gonna, like capture everything on my screen. If you're on a Mac, I'm not sure how to do that. There might be other alternatives or software that can capture your screen, but for Windows just hit print screen, and we're gonna create a new there, and we're gonna create that just right over top of our, um, main illustration here, and we're gonna hit control V, and that will bring everything in. What brought me in on my others being there. It's funny. Let's get that away. All right. So we'll skill this down, be it so I can see what I'm doing. Now. I'm just gonna grab my marquee tool with him key on, then just select this screen, and then he controlled J and then delete that bottom layer. Now we just have this side of the monitor, the struggles off to the ranches and I just at all in this one just putting it in the ballpark. I just changed the opacity of it, so it hits a little bit better there. We got traditional paintings. Pixel are a digital painting on top of a traditional sketch. We got everything all right. I think that's it for this one. So in the next one will be finishing it up with some lighting effects. 8. Lighting Effects: Alright, guys, let's get into some lighting effects and finished up this piece or I get started. Obviously, I did some little bit of edits to the window there. I felt like it was pretty blown out over exposed. That's something. You'll often see a lot of photographs, how cameras work. They don't have the high dynamic range like our our own eyes do, because if I mean if you're actually looking out a window, you can see what's out there. It's not super bright, like it would be in a camera, so, yeah, with digitally painting and painting in general, of course, you want to represent that. You don't want the camera kind of effect. At least I don't I mean, maybe you do, but that's kind of a personal dialogue, I guess. Um, and it I think it also has a really nice story element as well. I try to go for like, a gloomy, cloudy, rainy day, and the cats, you know, stuck inside because it's raining out. Um, he's not out. He's not able to go outside and go on his patrol. Eso he's all sad. Let's get into the lighting effects. Let me just walk you through some of the effects that I've already applied to, um, pull off this effect. So it's Let's do that. Let's go one step at a time here. First thing I did waas add levels. Usually this is my go to effect at when I'm like finishing up our peace. You go down here to the adjustment layer icon, which is, Ah, a circle like cut in half. And then you got this whole list of different types of layer adjustments that you can add and their own their own little layer. You can come back to him of it and manipulate them if you need to. I lived more into this on my last class painting and photo shopped for beginners. I want to learn more about that. Go check it out. But for for just this, we added a levels layer. Here we go. You can see that I've slightly just very so suddenly of taken the mid tones and darken them just a bit. See it by default. It's that one. And then I took it down to about 87. 88 was where it landed, and that's fine. So that's just adding a little bit of contrast, and I did the same thing with the highlights. Brought them closer and and that's bumping up the lights a bit. Eso just add in a little bit more contrast to the overall peace. I definitely don't want to get too carried away with this because it can, and too much contrast in too much black. I usually don't really touch the black any more because I found that I was always messing with this, uh, this one. And while it looks cool when I bring it down, it always ends up destroying my pieces because it it has too much black. And, you know, it looks cool because I'm comparing it to what I just saw. And I'm just, like, who contrast. Let's keep that. And really, no, I don't want that much contrast, especially with this diffused lining. I don't I don't think that would be the smart idea to go about so very subtle. And you'll see much of these effects there just subtle. And then when I did next was I duplicated my levels, Blair, and set it to overlay. Now, with this dead wise, it added just a little bit of contrast again. And it's adding more color more saturation because I have that overlay layer set as it's blending mode and you can see that there's just a slight month in color. And next was a little bit of a color balance adjustment layer. And I felt since that it was a cloudy day. I wanted the room just to be a little bit just a touch gloomier eso I've brought down the blues for the mid toes a bit, and I could go in here and actually changed the highlights to if I want on then or the shadows and the highlights maybe bring up the yellows and the the highlights. But I really just don't like diving into it that much, Um, at least for this piece. So I am just going Teoh do that made tones and just a touch of blue, and for the most part, it gets the job done. It's definitely pulling off the effect that that I want. Okay, so here's the next effect that I did. And that's the little beam of light coming from the monitor, and that effect was pulled off by and in a new layer, sitting that layers blending mode to color Dutch and adding about this color of a blue, you know, your mid tone made, saturated blue kind of, ah, aqua color. And then I'll do this over here, off in the corner to show you the effect. How did how have pulled off this particular effect? And that is, you know, just draw on top of the monitor with a soft brush to create the kind of illumination effect . And then I got this little hard edge here with this light source and to pull that off, just grab your polygon lasso. And then I took it from this corner. So we'll just show you here, and then I just grab that, grab a chunk of that corner and delete it. And that created a nice hard edge of a beam of light, even though I don't think you would really see that in real life. But it has a nice, subtle effect for this piece and the last effect that I did waas add in a little bit of a shadow behind that monitor. Just add in Ah, a bit of contrast 9. Assignment: Alright, guys. So I'm all done here. So now it's your turn. I want you guys to do two different things. I want you to take a sketch. Could be a sketch of anything, anything that you guys really like. Something that you appreciate. Maybe it's a little object that used to belong to your great great grandmother. And it's been passed down to you for generations. And you're gonna pass it down to your daughter, son. Uh, whatever. Though it could be anything for me, it was this corner of the room, primarily my dresser, to show my appreciation for it being a desk. Frankly, without it, I'd probably be working on the floor. And that's that's no good Focus sketch sketch. You got your sketch. Okay, good. Awesome to be great. Now take a picture of it, throw it into photo shop, and then can't like we did in the class. You can paint over top of it or you can change that blending mode of the sketch to multiply and paint underneath it If you guys got some really clean lines for me, that method doesn't really work. But a lot of people use that method and it works for them. So pain it, Finish it it up in photo shop. Use some textures if you need to. Or actual images from real life. Kind of like we did with the posters. Um, and, yeah, finish it up and send its in both of those to me. All right? And that would be the completion of your part in this class. So, um, that really I want to thank you guys for taking the class. If you guys learn something out of it, be sure you don't give me a like rating or whatever they got going on over here, because you know that that probably helps. That probably helps. Somehow has my ego, actually. Alright, guys. Well, um, that's That's it for me. Um I really have no more words. I wish I could say something. Teoh ticked it. I don't know. I don't. Good luck. Good luck, guys. Good luck at this. Awesome. Have fun with it. All right. I'm okay. I'm good. All right. This is enough.