Realism Studies Masterclass : Rendering Different Materials (Digital Art) | Margarita Bourkova | Skillshare

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Realism Studies Masterclass : Rendering Different Materials (Digital Art)

teacher avatar Margarita Bourkova, artist | dreamer | infp

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

16 Lessons (3h)
    • 1. Intro

      1:07
    • 2. Overview

      3:20
    • 3. References

      1:57
    • 4. Rough Sketch

      5:29
    • 5. Line Art

      16:08
    • 6. Flat Colors

      5:07
    • 7. Shadows & Highlights

      4:32
    • 8. Rendering Techniques

      5:04
    • 9. Rendering Part 1

      17:45
    • 10. Rendering Part 2

      15:12
    • 11. Rendering Part 3

      9:59
    • 12. Finishing Touches

      35:08
    • 13. Material Exercises 1 - 2

      21:32
    • 14. Material Exercises 3 - 4

      20:00
    • 15. Material Exercises 5 - 6

      17:57
    • 16. Outro

      0:34
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About This Class

Hi there! Welcome to the Realism Studies Masterclass! This is going to be a very extensive course on rendering different materials with digital art. Studies are an excellent way of improving your skills and I believe that the more life studies or photo studies you make, the more realistic your paintings will become. As digital artists we sometimes need to be able to render things like wood or stone or metal - and many more! 

This is going to be a two part course. In the first part, I’ll walk you through my whole process of creating a fully rendered, very realistic still life study. I'll start by creating a rough sketch, and then a line art sketch. I’ll then show you how I work with colours by building up layers on top of my sketch. Finally, I’ll show you my process for rendering these different materials and making them look as lifelike as possible. In the second part of the course, I’ll show you a fun little exercise where I’ll quickly render six different materials. If you’re not a fan of large still life compositions, this exercise will be a good alternative and it will also help you improve your rendering skills.

This class is recommended for : All Levels

Basic digital art knowledge is recommended, because I won't be going over all the fundamentals. But I truly believe that everyone can benefit from painting studies, no matter their skill level. The more studies you paint, the more experienced you'll become, and the more realistic your studies will look. 

Meet Your Teacher

Teacher Profile Image

Margarita Bourkova

artist | dreamer | infp

Teacher


I'm margaw, a freelance artist based in rainy Belgium. I'm self-taught, and i really believe anyone can draw if they really want to! I created this channel to share my drawing techniques, my personal tips and tricks, and to support others on their creative journey. Don't hesitate to reach out if you have any questions or if there's a particular technique you'd like me to teach -- i'm always interested in your feedback!

Ballpoint pens are one of my all time favorite art supplies, i really enjoy using them for almost anything : rough sketches, stylized drawings or even photorealistic illustrations. They are easy to find, cheap and, once you've got the hang of it, really fun to use. Sadly, most people aren't familiar with them... that's why i teach several... See full profile

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Transcripts

1. Intro: Hi there. Welcome to the realism Studies Masterclass. This is going to be a very extensive course on rendering different materials with digital art. Studies are on excellent way of improving your skills, and I believe that the more life studies or photo studies you make, the more realistic your paintings will become. As digital artists, we sometimes need to be able to render things like wood or stone or metal. And is it just the obvious ones? Just look around you and you'll see so many different materials and textures in your clothes, on your desk or just outside your home. In this master class, I walk you through my usual process of creating a very realistic, fully rendered photo study and will also do some exercises with different materials. So grab your tablet your stylists on, Let's get started. 2. Overview: before. Anything else, I'd like to talk a little bit about studies. What, therefore, who should use them for practice? And I'll also explain a little bit about how discourse is going to be structured. Examples of life studies or realism studies abounds throughout our history. Their list known. Still, life paintings come from ancient Egypt and that 3500 years old apprentices will copy old Masters paintings during the Renaissance to learn that technique, stepping reality or someone else's work wasn't seen as a lack of imagination or a waste of time, like it's sometimes the case today. Realism studies have had a lot of different purposes throughout our history, but today we're going to talk about cupping reality to improve your digital art skills. As digital artists, we need to be able to render different materials and to paint different textures to make our paintings more lifelike. It doesn't matter if you create fantasy illustrations with creatures out of this world or if you stick to more realistic subjects. Being able to render different textiles or wood, stone and metal can be very useful, and it's a nice way to expand your skill set. This is going to be a two part course in the first part. Ah, walking through my whole process of creating a realism study. I like to do those once in a while to practice rendering different materials, so I would usually paint a couple of studies every six months or so. It's also a great way of tracking your improvement throughout the years. So if you're serious about digital art, I recommend you schedule a realism study every once in a while. The realism study I'll be working on in the first part of this course will be a still life , a simple composition with a few different materials. I'll start by creating a rough sketch, and then I detailed Leinart sketch. I'll didn't show you how we work with colors by building up layers on top of my sketch. Finally, I'll show you my process for rendering these different materials and making them look as lifelike. It's possible in the second part of discourse, I'll show you a from little exercise where I'll quickly render six different materials. If you're not a fan of large still life compositions, this exercise will be a good alternative, and it will also help you improve your rendering skills and discourse. I do my best to describe my process from beginning to end so you'll be able to have a close look at my rendering technique. All my references and painting files will be available for download so you can use them for practice by recreating the studies from discourse all by painting some of your own. 3. References: creating a realism study starts with choosing one or multiple reference pictures. It's not always easy to use live subjects, especially for digital art. That's why I mostly use pictures. I decided to create my own reference for this presentation, and since this course will focus on different materials and rendering different textures, I tried to choose to subjects with very different textures so as to have a nice contrast. Here we have a teddy bear that has this fluffy and knitted texture, and next date will have this kind of old rusty metal lays or something. I'm not exactly sure if it's a vase. It's just a note. Drink it I found in my house, but it has a completely different texture. So now we have a nice contrast between the hard metal and the fluffy stuffed animal, and I also added a few dried plans in the vase. There won't be the focus of the study, but I think they balance the composition quite well once I have a nice composition. If possible, I'll take a bunch of pictures from different angles, just in case you see that some arrangements might look good in real life, but the bending on the angle of the picture, some of the objects might look a bit distorted. I had this problem with the legs of the teddy bear. They appeared really huge in some of the pictures, and I didn't like that. So if you decide to take your own reference pictures, make sure to explore different possibilities. Try different arrangements, different angles and take as many photos as you like. You'll be able to sort them out later and to choose the picture or a couple of pictures you like the most. 4. Rough Sketch: Once you have selected the reference picture you abusing for your realism study, you can open it in your favorite digital art software, and I'll show you how I sketched a composition. I usually start with a very rough sketch, just a place all the different elements on the canvas to make sure that the proportions look good and that this is the final composition. Are we working on? And then I work on top of the rough sketch. Andi. I create a more detailed sketch when I make sure to draw all the tiny little elements of my reference. All the details and this is called the Leinart. So let's start. I've created a new file, Andi. I will now start sketching to Teddy Bear for the rough sketch. I tried to give my shapes pretty simple. So here we have kind of a square or a rectangle for the body, and the two legs are attached to it. At this stage, I'm really not paying attention to the details to the textures. I'm just making sure that the proportions are more or less the same as in my reference picture. If for some reason you need to re scale or this door to your sketch a little bit. You don't have to raise it and start from scratch. You can simply select it with the lasso tool or the marquis to and then click on add. It's then transform, and you can re scale your drawing, rotated distorted however you like here. I feel like the sketch was getting pretty large and there wouldn't have been enough room for the head, so I was scaled the whole sketch. So now I draw a circle for the head of the teddy bear Onda. I add the ears. I feel like the proportions are still not exactly the same. So I added the sketch here and there. I make the body slightly more round, so it really looks like a stuffed animal. Andi, I add some smaller details, like the eyes and nose. Another way of quickly editing your sketch is to select just a portion of it with the lasso tool and to edit it separately from the rest of the drawing. I'm still not happy with the legs of the toy, so I select, um, and I use warp to transform them. However I please. It's a tool I use a lot in my drawings. So there we have a very rough, very simplified shape from a teddy bear, and we can now focus on the vase. So since the base is going to be a different element of the composition, I create a new layer for it. You don't have to do the same. You can totally create your whole sketch on a single layer, and I'll be merging all my sketch layers in the end anyway. But since I like to re scale and distort different elements for my drawings, it's just easier to do it when each element is on a different layer, especially here, since part of the vase is overlapping part of the teddy bear. So the base is a rather simple geometrical shape that is just slightly distorted because we see it from above. Once again, I'm not exactly happy with the size and the proportion of my sketch. I really get it right the first time, and that's why I keep my layers separated. So I transformed the shape, and then I just add some minor and details to make sure that my composition looks good. At this point, I'm not interested in the kind of intricate design on the handle of the vase. I'll live that for the line are to create. Later, I'll just add the dried plants to the base. I'm not creating a new layer for them since it's just a few lines on top of the vase. But I'll re scale the whole layer just a little bit. I'm just going to add the shadows under the objects, since we'll have to render them as well to make the painting look realistic and three dimensional, and now it's done. 5. Line Art: So that was the first stage of the sketching process. I'm going to merge the layers and I'll call them sketch number one. I'll create and your layer that we were my sketch number two. And on this layer, I'll create the line are drawing that is going to be a much more detailed sketch. First, I'm going to lower the capacity of my sketch off my sketch number one to roughly 20%. So you see how my first sketch is now barely visible. It's going to be way easier to draw on top of it this way. At this point, feel free to zoom in on your reference. Picture will be drawing smaller elements now, so it's important that you can see all the details in your reference. So let's start. The teddy bear has this very fluffy texture that I'd like to recreate in my Leinart sketch . Now, of course, I'm not going to draw every single strand of fluff it would be it would take forever. So instead I'm going to try and keep the same general direction for the fluff, as in my reference picture. So I'm basically drawing the outline of it. If that makes sense. It's okay to add some details to the fluff as long as you don't get stuck on it, because we're really going to render it later on in the painting stage. Now is the time to also add some elements we left off the first sketch like this. A cute little ribbon. By the way, this textile ribbon is another interesting texture that we're going to render later on too difficult, Toe added. That being said, if there's a detail in your reference that you don't like feel free to live it out of your drawing, for example, you can see that there are a few lose strong's from the nose of my teddy bear that I won't be adding to my drawing simply because I don't think it's very pretty. This is a study, so you're the one deciding which elements of the reference you'd like to keep. What textures you're interested in working on and cetera the line art sketch is going to take a little bit more time than the rough sketch. Everything is more detailed this time around, so take your time with it, make sure that you add every element you'd like to render, but keep it clean and, most importantly, keep it flat, so there's no need to add shadows. For example, as a side note, people often ask me about tracing from photos and whether or not it's considered cheating, whether or not you can use it for studies. And here's the thing. It really depends on what your goal is. Studies are all about learning different skills. You contained studies to learn about lighting and composition, or like in this example here. We'll be learning about rendering different materials with different textures. But say you'd like toe get better are drawing the right proportions. In that case, you'll be wasting your time by tracing simply because drawing the right proportions means observing the different shapes of your subject and trying to copy them. Tracing them simply won't help you improve your observation skills. But now let's say you have no problem of sketching proportions. What you're interested in is coloring and rendering a painting. In this case, you can totally trace and object to gain some time. Instead of worrying about the proportions, you're free to focus on rendering your subject and making it look as realistic as possible . This is just my personal opinion on tracing. I think it can be a tool like everything else, as long as it doesn't become a crotch for this class. I chose to show my whole process from rough sketch and line art to the finished rendered study, because I believe that every stage is important that there are always things we can learn from practicing, even if its technique were already familiar with. So even if you feel comfortable sketching still life, I would still recommend you don't skip this first lessons. But in the future, when you work on other studies, if you're pressed for time, for example, because I know that that everyone has the luxury off practicing painting on the regular basis, then in that case you can skip the sketching part, trace an object and practice coloring it and rendering it, and you don't have to feel ashamed if you do so back to my teddy bear, I keep sketching the outline of it and making it as detailed as possible from time to time . I like to make my first layer invisible delay A. With my rough sketch. That way I can have a good look at my Leinart and see if there are still some minor edits I could make. For example, the ear isn't around enough, so I selected with the lasso to, ah, and use the warp to change its shape. And now it looks a little bit better. The last two Onda Warp two are your friends during the sketching stage. Another thing to remember is that, yes, the rough sketches here to help you of the general shape, the general composition. But of course, if you feel like there are some adjustments to be made, you condemn. Definitely do. So now that we're working on the detailed sketch, the line our sketch. As I said earlier, it's quite difficult to nail the perfect shape from the get go, so small revisions are necessary here and there. The drawing is never going to be as precise as if I had traced it, but I'll try to make it a similar to the reference as possible. It's a really good exercise, so we're almost done with the teddy bear. It was the difficult one. The shape of the vase is going to be much easier. Troll. It's way more symbol. The handle of the base is the only airman that will require some work. So let's see if I get rid of the rough sketch. My line art looks pretty similar to you. The reference. So that's good. I can now focus on the small metal vase. So this one, I'm not going to draw it entirely by hand because it's kind of ah geometrical shape. Instead, I'm going to use the shape to You have ODIs, pre defined shapes. You have rectangle to ellipse, to polygon to etcetera. I'm going to use the L apps to to create a circle. I make sure that I have selected stroke and not feel so what I create. We only be an outline, and then I draw my circle. The shape is not going to be exactly what I need, so I'll use the transformation tools once more to rotate it and to re scale it. So it's similar to my reference. I rest arise the layer, otherwise I won't be able to edit it or to draw on top of it. And now I can add the small spout of the face. Once again, I create a new layer for this. I don't want to mess up my geometrical shape, Um, more than what's necessary. So I keep it on a separate layer, and I keep adding details to the vase. I do it by hands. This time. You can keep using geometrical shapes if you feel like it if you want to make it perfect, but I don't feel like it's necessary for the small bumps inside a device. Plus, I can use the Warp two and arrange the details. However I like. I am going to use the shape to once more, though, for the base of the vase, because it's in that a circle. But for the details inside of it, I feel like it's OK to draw them my hand. Even if they're not perfect, it won't be as much of a problem. So whenever you have to draw a glass, a teapot, abo anything that has a very defined and geometrical shape is the shape toe. To gain some time here, I'm going to create another circle for the base of the base on the other in re scale and rotate and arrange it. So the curve is the same as in my reference picture. I know that doing all this can be a little tiresome because it's quite a long process. But you belonging so much more than if you just trace the shape creating Leinart like this . It's really good for your observation skills. The shape of the face is looking good, so I'm going to merge all the layers. And now I'm going to work on the handle with this kind of intricate design. It reminds me a little bit of Celtic designs. Actually, I'm not going to be very comfortable drawing it from this angle. It doesn't really work for me, so I'm going to rotate the whole canvas. Andi, I'll rotate my reference picture as well. This is a good trick if you're stuck. If you have trouble drawing something, changing your point of view can be really helpful. So my rough sketch was pretty simple. It shows me more or less the size of my hand or should have, but other than that, I'll have to draw it from scratch. If you feel the need, you can go back to your refs, catch and at some details, Um, so it's easier to draw the line ERT on top of it. I'm definitely going to use all the help I can get from photo shop, so it won't be drawing it entirely by hand. Once I have a shave that I like, I selected a copy it with control, see and then control V and I go to transform and then flip horizontal and normally I would have a mirror image of my drawing. But since we just rotated the canvas, it looks weird. I need to rotate it again, but this is really useful. It helps me save some time. And I have ah, perfectly balanced shape that looks like my reference picture. I duplicate the line once more, So now I have the small edge and the shape looks three dimensional. The shape is not 100% exactly the same as in my photo, but I kind of like it as it is. I think I'm going to keep it that way. It's a more interesting shape. I keep the handle on a separate layer so I can make changes to it without raising parts of the vase. When adding the small details to the handle, I feel like it should be slightly larger, so I just that I repeat the same process for the rest of the design. Basically, I draw one side of it, then a duplicated. I flip it horizontally, and it creates this very symmetrical design. You have access to both my reference pictures and the layered Photoshopped file for this drawing. Taken, recreated, if you wish, or if you feel like it's a little bit complicated, you're going to start with a simple in design. I hope I showed you that it's perfectly fine to adjust the reference wherever you like and to change or skip altogether, the details you don't like. We could totally use a different reference and draw a very symbol Merrill handle instead of this design. And it would still be a useful study and a great exercise. We're almost done. I can still see some minor differences between my line art and the reference, but I like the way my drawing looks. Some have going to change it. I just before merging the layers. I need to erase a few of the lapping details on the vase, and now it's finished. I can merge the layers, so the whole vase and so on the same layer. All that's left is the dried plans that's going to go really fast. I create a new layer on. I rotate my canvas so it's easier for me troll. I don't feel like I really need to my rough sketch for this one because it's just a few straight lines if you leaves. And as I explained before, it's really not the focus of my study. So I don't mind if the plants don't look exactly the same as in the reference picture. So this is basically my process for creating a rough sketch and then, on detailed line our sketch next World cycle, the coloring process to see you there. 6. Flat Colors: Welcome back. Now that we have a very detailed sketch, we can start adding some colors to it. I'm not a fan of this wide background, so I would change it to something a little bit darker, like this greatest color that's on a different layer than my sketch. Of course, I create a new layer that I'm going to put under my sketch layer, and this is going to be my flat base color. I'm simply going to call on my sketch as if it was a coloring page on Liam using just one color, Um, using a slightly darker grey. But really, I could be using any color I like. It doesn't change anything. This is simply a way of selecting the whole drawing, the whole space that will be coloring later on. Now there are a few different ways of doing this. The one I'm showing you is definitely not the quickest one. If your sketches well defined, you can simply select it with the magic wand or the quick selection to ah, and then you simply fill the whole shape with the color of your liking. This would definitely be quicker than what I'm doing, but I like coloring stuff. To be completely honest, I find it very relaxing, especially when I can zoom in and color all the small details. And also, in this particular case, my outline is oh, broken and disconnected because of all the fluff I had to draw. So it would still take me a lot of time to select the correct shape with the magic wand. So, yeah, it is gonna take some time. But having this flat based color will also help you save quite some time later on, so it will be worth it. Once I've finished covering everything with the flat color, I can look in the whole layer with small I can. Here it's called a lock, transparent pixels. And what this is going to do is it's going to prevent me from painting outside of this, this shape recreated with the gray color. So even if I try, I select another color. Let's pick some blue. Even if I try painting outside of this shape, the shape is locked so the collar stays inside. This is going to be very helpful later on. When will be coloring the study because we want to stay inside the lines of the sketch now that we have is defined a shape, I'm going to duplicate this whole layer. I like to keep the placates of my layers just in case. It's always useful when you can go back to a previous state of your painting, and it's also a good way of keeping track of your progress. So I recommend doing this if you'd like to create a process gift or a step by step sheet of your painting. The dim placated layer I created is also locked so I can start coloring the teddy bear without worrying about staying inside the outline of the sketch. I'm still working in flat colors. I like having a base of flat colors second, then build the shadows and the lighting's on top of it. If you're not sure about the colors you should be using at this point, here's the trick I use. Have a look at my reference picture for a second. If you look at the teddy bear, what color is it exactly? There are so many different shades here, but if I had to separated into free colors, it would be dark brown for the shadows. Very light beige for the highlights and kind of light brown Oakar for the main color. And this man color is the one I tend to use as my flat based color certain of the darkest one or the lightest one, but the one that's kind of in the middle. I did the same for the metal ways. I use a darker brown that's between the darkest shades of the shadows and the lightest shades of the highlights. And for the drive plans, I'm also using a light Oakar. They're basically the same color as my teddy bear. Once I have finished painting the flat base color from my whole composition, I can finally start the rial coloring process. I'll be adding all the shadows and highlights, and I'll try to match as much as possible the colors for my reference picture. 7. Shadows & Highlights: At this point, I would usually duplicate my layer once more. As I said before, this is just something I do to keep track of my progress. You can totally keep the same layer throughout the whole coloring process. If you prefer at this point, also like to merge my color layer and a copy of my line. Our sketch. Once again, that's a personal preference. I used to keep my sketch on top of my painting at all times, but these days I find it easier to paint on top of my sketch in the kind of gradually cover . It's with pains, so I'm adding some shadows to do teddy bear. Since this is a study, basically what I do is try to copy the colors off the reference as close as possible. I mix different browns and oranges. I use light beige for the highlights on the head and the limbs. The important thing to remember at this point is that I'm not worrying about textures. This is all about colors and creating the right shades of brown and beige. You've probably noticed that I'm using a rather small brush for this, even though we're not yet working on the texture of the teddy bear. The small brush strokes helped create. Alert enough fluff with this type of fluffy texture. You can see that there always a lot of different color shades mixing everywhere, even in the darkest shadows under the ribbon, cast your rounds and oranges and every little bit of badge. So my goal here is to recreate the same mix of colors while still making it look two dimensional. So still having these darker and lighter parts, don't forget that you can edit your colors at any point. If anything feels off, you can change the hue and saturation of your painting. I feel like mine should be slightly reddish. That's a doctor, too. You can also change the contrast of your piece. Make the highlights pop a little bit. Don't forget that you have all this digital tools at your disposal and make good use of them, so I keep adding small touches of color until I'm happy with the overall color palette. I'm doing the same for the metal vase. It's again adding the shadows and the highlights, making sure to have older, relevant colors on my painting that I can use them later on, when will be rendering on two different textures? This is the type of exercise that really helps improving your observation skills. Basically, all you do is looking at your reference picture and trying to pick the same exact colors and to put them at the same exact spot on your painting. The more studies you paint, the easier this process will get. So if your first attempt isn't looking good, just get going. Keep painting it. Can Onley get better? Basically, your training your eyes to spot the important stuff in your references. The importance of being the color palettes, the lighting, all the stuff you're doing the studies for I remember when I first started painting digitally and doing studies. The sensation to simply pick the color from the reference was really strong. I've done it a lot, but just like tracing, it's a short cut, sure, but it isn't teaching you anything. You're going to learn a lot more by picking your own colors and trying to recreate a color palette from scratch. So here's how I create a collar base for my studies. Next we'll start working on the different textures and I'll show you how I ran to reach one of them. So see you in the next videos 8. Rendering Techniques: before we start rendering the different textures of this realism study, let's have a closer look at the references. We have the stuffed toy with this forfeit texture. We have the shiny, reflective metal, and we have the more natural texture off the plans. These pictures are all very different. Answer, of course, will use different techniques to paint them so very quickly. I'm just going to show you how I would usually go about painting textures like these, and we'll talk more about different materials in the next videos. If you look at the teddy bear, even in the brightest spots where the fluff is the lightest, there's always a darker tone. Underneath, it's the same one painting for, for example, the undercoat of the animal will always be darker because of the shadows, because under the rest of the for, so when painting this type of texture, I always start with a dark undertone in this example. Here, I paint him fluff in dark brown, and on top of it I'll start building up new layers of fluff with lighter colors. Light brown, Oakar, beige. Of course, I paint the individual fibres of the fluff in different patterns like I see them in my reference picture, but it's really the layers of different shades that give the for destry dimensional lock. This is what's going to make the stuffed animal look fluffy. If you've never tried this technique before, you can practice a little bit on your reference picture like I'm doing right now. Just make sure to create a new layer, and you can try different patterns and colors for the for and see what looks good. Metal is a different material, and so it has a very different feel and texture. It's usually smooth and reflective, so we're going to have some interesting lighting here to practice Rendering Meadow. I'm going to create a Grady int between a dark and the light color. The Graydon doesn't have to be perfect. This move. Sometimes having a more rough look can help create the right texture. Once I'm happy with my grey, didn't I start adding small scratches here and there? I use both dark and light colors for the scratches to make it look like some of them catch delight and others don't. If you look at my reference picture, there are not a lot of scratches there. It's more like small bombs and imperfections on the surface of the vase. You can paint them all by hand with a simple brush. Or you can use special texture brushes if you have some. Finally, don't forget that you can edit your colors at any point. You can increase the contrast of your painting to make it look more shiny. And once you're happy with the general texture, you can add some final highlights. Stewart with a lighter color. Finally, let's have a quick look at what our plan texture will look like. Basically, what I like to do when painting plants is to add a lot of lines to my painting so it makes it look like a little bit like bark texture, maybe, or the patterns on certain large tropical leaves. So here I've painted part of one of the leaves from my reference picture. I use a very small brush, and I start painting lines on top of it. I use both dark and light colors like a day for the metal texture. I think this really gives it a more natural look when you switch collars from time to time . I also add some highlights to make the shape of the live stand out. Highlights are really important when rendering different materials. I could even go back to my metal texture and at some more highlights to it, and you can see how it really makes it stand out. It really makes it look like a scratched surface. So now that we know how to paint all these different textures for my reference, let's go back to our study. 9. Rendering Part 1: Now that I'm looking at my painting with fresh eyes, there's something bothering May I'm going to select the right eye of the teddy bear and move it a little bit closer to the other. I unlocked the layer to do that, so now I can paint on top of the gap here. It's looking better now. Another thing that I'd like to do before starting to work on the texture is adding some cast shadows under the different objects because right now they're all kind of floating and it's not very realistic. So I'm going to create a new layer under my current layer and using a soft brush with low opacity, I'm going to paying some shadows. You can see how it immediately looks like the teddy bear is going to jump out of the screen . It makes it look so much war lifelike. I'm going to blur the shadows a little bit. Photo shop has a few different blood tubes. They all create interesting effects, some going to combine a couple of them explorer and motion blur. It's always interesting to experiment with different painting tools, so no matter what software you're using, you should try out different tools, presets, effects and filters. You have access to at least ones, so you have a better idea of what tools you can work with. And now I'm going to create a new layer, and I'm going to right click on it and select Create clipping mask. This is going to have the same effect as locking our layer on Lee. This time, the clipping mask is locked on the layer below it so I can paint on top of my teddy bear and nowhere else. They're going to be a lot of this layers. I like to add each texture on a separate layer. I'm going to name this one there and now let's zoom in. I showed you how I like to start with some darker brushstrokes and then create some contrast with lighter tones on top of um, I'm going to do the same here. I keep my reference handy, and I start detailing the darker parts on the head of the bear. Now, this is going to be a rather long and slow process. I'm using a small brush, and even though I'm not going to copy the reference exactly 100% as it is, I'm still going to push the realism as much as possible. So bear with me nobody intended. I go back and forth between shades of that brown and Oakar. Each small stroke will look like a strand of fabric wants resume in. Here's a trick to make your texture more realistic. Dreadful. Avoid painting the same stroke over and over again. If you look at my reference picture, the fluff is going in every possible direction. Some of the for looks slightly wavy. Some of it is most trade. It's a mix off a lot of different details. You should try to recreate the same kind of chaos in your painting. I forget to mention this earlier, but obviously, if they're still parts of your sketch that are visible, you should try to paint on top of them to make them disappear. After all, we don't want the sketch to ruin the realistic look we're going for in the study now. I mentioned earlier that I took a lot of different reference photos at different times of the day, with different lighting, different arrangements. Now that my composition, my colors are pretty much set in stone, I'm going to use another reference for the texture and for the details. It's a close up of the teddy bear's head. As you can see, the colors and the angle are different, but that's OK. I'm only interested in the details of the for because they are much more clear here. So, yes, if you're using a reference picture from the Internet, you might not be able to do this. But if you create your own references, you're free to use as many photos as necessary during the rendering process. The more information you can gather on your subject, the better. This new reference has more information about the eyes and the nose of my teddy bear, so I'm using it to add more details to my painting. Of course, I'm keeping the colors from my previous reference. Once I'm happy with these details. I go back to my first photo reference, and I keep adding dark and light strokes on this detailing the for. I've said this a few times already, but I think it's important to stress that you don't have to copy every single strand of hair to make the for look realistic, and this goes for all textures it's about copping enough of it, so it looks lifelike. So you give the fewer the illusion of something realistic. But you don't have to spend days working on it to give you an idea. Painting this study took me roughly five hours. Now, of course, this isn't my first study. The more you practice, the easier it will get, and you'll be able to paint studies in a matter of hours. So don't feel bad if you're not so fast at first. It also depends on the complexity of a composition. If you decide to paint a very detailed, still life with 14 different kinds of fruit, yes, that will take some time. Start small, a couple of objects per painting. It's more than enough if you're a beginner. So the head of Ah Teddy Bear. It's really starting to look realistic. I'm going to switch to the ribbon now, and I'll detail it a little bit. I didn't really focus on it before, so the colors are not exactly the same as in my reference picture, but I'll fix this gradually, and I'm also going to get rid of the lines from my sketch when rendering all the small details. I like to focus on small portions of my painting where I can zoom in and work on it for a bit. And then I would switch to another portion, working it a little bit. So it's back to the previous one and kind of have a look at it with fresh eyes. That way, it's easier to spot what needs to be done if there's a problem of the colors or the shapes . So, yes, going back and forth between different portions of your painting will improve your observation skills. So let's just jump to a different portion of my teddy bear like the arm here. I'm going to zoom in on my reference picture so I can have a good look at it, and I do the same with my painting. The technique is the same here. I start with some dark brown strokes that will make the for pop, and it will help give the illusion of depth to the firm. It will make it look three dimensional. And remember, this is just the base of the for. Don't worry if you end up using darker colors than what you can see in the reference you're going to cover this up with a layer off light of her so the base will be barely visible. I'm also painting on top of the lines from a sketch as much as possible, because I don't want them to still be visible at this point. As I said, painting for is a slow process. Hopefully, you'll find it relaxing and not too boring. Plus, the results at the end is always very rewarding. When you see the difference between your painting with and without the full rendering, it's really worth it. So now that we have the darker base of the for and you see that the for ghost in all directions, I'm trying to make it look as chaotic as it is in my photo. So now we can add some lighter colors and make the first send out more. As always, I'm not being 100% true to my reference picture. There's no need for that as long as it looks realistic. That's more than enough, and it's always possible to improve on your reference to make it look more smooth or more shiny. So once you've mastered the overall technique for rendering a specific material. You can improvise and add your own personal touch to it. That's what our style is all about. So here I'm kind of making it look slightly more wavy maybe than it is. But that's fine because it still looks like a stuffed animal. As a side note, The outline of my teddy bear is a little bit too stiff to my liking. That's because of what I did earlier, when I looked my layer to be able to paint without going outside of the outline of my sketch. That was very useful at the time, but now it doesn't look realistic enough for me. It doesn't look very fluffy. So once I'm done with everything else, I'm going to create a new layer on top of everything else on detail. Just the outline off the teddy bear looking your layers. It works for some pictures person materials like metal, for example. I won't have to change the outline of debase, but for hair and fur and anything fluffy, it's always a nice idea to go over it. Once everything else is done, and to detail it just a little bit more so back to my ribbon, I'm still working on mixing the right colors and getting rid of my sketch that's still visible here and there. I always work layer by layer, so I'm always going to start with first, get the cars right, then work on the textures. So adding all the small details like I did for the for. And then finally, the finishing touches here, for example, does this very interesting lighting. You know, it's orange and really shiny. That's because of the very particular material distributors made off. But like I said, re creating this very specific lighting is something I'm going to do at the end when I'm done with everything else, It just doesn't make sense to work on the texture if your colors are wrong, or to add small details if your base underneath, if you're underpaid ing isn't finished. For me, at least it it makes more sense to keep things organized and to go step by step without rushing anything. So now let's work on the belly. My now I'm sure you're getting used to my technique. It's a lot of repetition on observation and just building layers of fur on top of layers of for I don't think I mentioned this, but I rarely ever use special for brushes. I've never found a for brush that let me create exactly the shapes I want to. So I usually stick to just a few very simple brushes. I actually have a round brush, soft rahm brush and then a random texture. Brush bridges are useful. I'm not saying that they aren't. They can help you save a lot of time if you know how to use them. But in the end, it really is about how you use thumb. The brush amusing right now for refer could totally be used for the metal texture. For all the small scratches for the plants as well, there's just the stuff from brush that they used for the shadows. I wouldn't change this one, but otherwise brushes are often interchangeable. You can stick to your favorite brush for all your studies, and this will teach you to rely on yourself more than you rely on your tools, Which is a good thing. I think so. Here we are again, still painting for still trying to give a painting some depth if for some reason the base of the for is invisible enough or dark enough, you can paint some of it on top of the light of colors. That's perfectly fine. I often go back and forth between dark and light colors, lets him out and have a look at my progress. I'm slowly getting there. Some parts should be slightly darker, so I just paint on top of the for and I make the shadows more marked. At this point was toe have a few more limbs to cover? The teddy bear is by far the most time consuming part of the study, not only because of its size, but also because spending for takes time. When we get to the vase and the plans things, they're going to go much faster. I noticed that the cast shadow here as much darker. First I'm going to replicate my shadow layer. This will make the shadow look much more docker, and then on the new layer, I'm going to paint this additional very dark cast shadow that is just under the base of the teddy bear. It basically mirrors the outline of it, and then I'm going to use the Blur to to make it look more smooth and realistic. Don't forget that you can edit your colors at any point here. I'd like to I'd like for my shadow to be slightly reddish. The shadows are not perfect yet. I'll be getting back to them later on. For now, I focus on rendering differ so I can finally put this behind me. It's during moments like these that you start to regret your reference choices. When choosing your references, Make sure that you know exactly what you'll be getting yourself into. Tried to choose a subject you like because you were spending lots of hours on it, just zooming in and zooming out and rendering a lot of small details. It's always more fun. If you're enjoying the process, it's better to be learning while also having fun. So think about it before committing to a subject you don't like. Luckily for me, I don't mind painting for I do it a lot for work. I paint a lot of pet portrait. It's so it's not a problem. I'm going to speed my process a little bit here because it's a lot of the same religious painting, the dark base and then lighter strokes on top, again and again by the end. You see that? My sketch has disappeared everywhere for the daddy bear, at least So that's good. The for texture is looking good. That just some details here and there that are still missing. I talk to you about the outline that is not fluffy enough. I'll take care of all this later, but now we can finally focus on something different. 10. Rendering Part 2: I'm going to create some new layers. One for the clowns, one for the vase. They're all clipping mask. So they're all locked on my first colored layer. My under painting. I'm going to put my plant layer on top of the medal layer. It will be easier this way, since the blunts are in the vase. I get my reference ready. I zoom in on the portion I'll be working on, which is going to be the dried plans. Now remember, if there are parts of the original sketch you'd like to get rid off, there will be some of those. Here's and my sketch wasn't Esper size, as I thought. You need to go back to the layer. Everything else is locked on and raise it there. Same goes for adding additional details. You won't be able to add them on the lucked layers. - I wanted to start by the layer with the plants, so that way they will still be visible when I start working on the metal texture. Now that that's done, that's pain. Some metal. Remember what I showed you for painting metal, which usually has a read a smooth surface. I'm going to create a grade int between all the different colors. We have mostly browns and grays here. So once again it's about observing your reference. Where are delighted colors? While the darker colors but also smoothing everything and creating grade ins between the lightest and darkest portions For creating Reagan's and blending colors, I use my brush at low to middle opacity. Here it's roughly 40% capacity, So whenever you pick a color at 40% capacity, the first burst stroke will always be a slightly lighter shade than the collar you've selected. And so switching between different colors and different shades of the same color will gradually create a smooth, radiant. You can see the difference here. I think I mentioned this before. You're grading doesn't have to be perfect. It's fine if there's some texture to it. After all, the grade end in my reference picture isn't perfect heater. I've since that is where people clearly used degreed into in front of shop or something similar to blend the colors automatically, and it just shows the grating is too perfect and it doesn't look realistic. So now I'm adding all the small details, the edges inside the base and Also, I'm getting rid of all the lines for my sketch. If they're still some of them left, and I'm blending all the colors together, all the different greys and all the different Brown's So my color palette is really starting to look like my reference picture. I'm blending everything together with the A pass ity at roughly 10% so my brush strokes are barely visible. But I'm also making sure that the Grady in isn't perfect. There are all these kind of orange spots on the side of the phase. It's where the lighting is being reflected by all the bumps and irregularities of the metal . I'm also going to accentuate the lighting here, this very bright yellow reflection. Again, I'm using my brush at a very low opacity, so it's easier to blend the colors and a detailed the lighting other of its more. So, yeah, you can see that rendering all these small details really makes a difference. Checking your progress from time to time, it's really great, especially if you're starting to lose your motivation. - And now it's the care off the handle. A swell Before starting on the details, I'm going to quickly fill in all the small gaps here in the original layer that have missed before. That's way I'll be able to paint on my clipping mosque, the one I created, especially for my metal texture. So let's get started. It's the same process here. It's all about blending the colors together, making sure that the sketch is invisible anymore. We have all these small holes here that are going to make the whole handle stand out because he have the shadow, the dark brown color inside the whole and the light fish highlight for the outline of it. And it's going to be the same for the rest of it. The whole kind of Celtic design we have here. We're going to make this design stand out by accentuating the shadows and the highlights of it. I started by reworking all the shadows, making sure that they are looking good. Next, I'm going to add some texture to the metal. I'm blending the different colors from my reference picture. It's still making sure that they're not perfectly blended. I like to leave some brush strokes visible here and there to make it more realistic, - and finally with a very small brush I'm going to add all the highlights, accentuating all the shapes and making the design stand out now. It's also the time to add all the small imperfections and scratches, so feel free to zooming on your reference picture if you need to. - So now that we've detailed the medal or a bit more, let's switch to the drive plans. 11. Rendering Part 3: now for the plants. I'm not going to strive to be as accurate as I watched for the other textures. I'm not going to copy them exactly as they are in my reference picture. What matters for me is only that they look realistic and three dimensional. My goal with the study is really to create a three dimensional composition that looks as life like as possible, and some subjects are easier to work with. Others. Let's take the face. For example. I had to re create the same exact shape or a really similar shape as in my reference, and to really pay attention to the lighting when I started rendering it. If I hadn't done that, if I was trying to paint a vase from imagination, chances are it wouldn't have been is realistic. But for the plants, whether the stem is leaning this way or that way, whether the leaves are in the right position or not, it doesn't really matter. It's not going to break the illusion. I think that's mostly because plants are a living subject, and that leaves more room for improvisation. So I showed you how I usually render plans by adding a lot of lines and creating a deck. Sure that way. So I have switched to my layer called plants is the one on top of the metal layer, and I'm going to start adding shadows and highlights while also raising the lines of my sketch that you can still see here. I'm using a very small brush for this so I can add old is small lines and details. If there some details missing from the under painting, you can go back to the original layer on Adam like I'm doing here or you can add them. Lay there on on the new layer. On top of the rest. I'm going to duties for the fluffy texture of the teddy bear. Once I'm done with everything else. So once again I'm using a very small brush and adding lighter details on top of darker details to give the illusion of depth and texture. - Don't forget that you can rotate both your canvas and your reference picture if you need to. Sometimes it's just easier to pain certain portions of the study this way, so all study is really looking realistic now, but it's not finished. There are still a lot of details. I'd like to add here a more dramatic lighting, some dramatic cast shadows and just go over some textures and really make them stand out. 12. Finishing Touches: Welcome back. Let's add the finishing touches to our study and make it stand out as much as possible. I'll start with the cast shadows. It's not dark enough, and it's not really the right color. I'm not going to make it as orange as it is in my reference. The lighting There is a little bit off, and it's not what I'm looking for, but still, I think I could improve it a little bit. So I'm working on the layer that is under the rest of my painting. It's really easier to paint the shadows that way. I'm using a soft, round brush, and I'm going to accentuate some of the shadows, like here under the vase. The cast shadows are usually darker, directly under the object. I'm going to create a new layer because there are multiple layers to this gas shadows, and I don't want to mix everything, especially if I'm going to be using the blow to later arm. It's better to keep my layers separated, so I'm going to accentuate my shadows here. I'm using my soft from brush at roughly 20% capacity, something I haven't mentioned before, but I think it's really important. What are you're painting a study or an original composition? Cash shadows are never pure black, and there never just one color. If you want more realistic shadows, try to add some touches of color to them. Like here, I'm adding a little bit of orange and Oakar, and even my darkest shadows are still dog brown and not black. There's actually a scientific explanation for this. If you're interested, if you've ever seen photos of the moon, the shadows there are always incredibly dark and black, and they're really dense. That's because there's no air on the moon. The air we breathe actually helps creating this colorful shadows we see on Earth. If you're interested in this kind of stuff, you should definitely google it. It's such an interesting phenomenon. So if you're shadows are two marked, you can use the blur to to soften them a little bit. Not so much dough. It's the same as ingredients. If anything appears to perfect and to smooth, it loses its realism. So now that we're done with shadows, let's create a new layer on top of everything else. This near layer is not locked, and it's not a clipping mask, so you're free to do anything you like on it. We're going to use this layer to add some highlights to our teddy bear and detail. The for texture a little bit more, especially the outlines of it. We're going to make them look more fluffy and realistic. Was there using our photo as reference. So we're going to zoom in and start detail ing the outline of the head. Mostly, I'm trying to soften it because it appears, really, it looks almost spiky and not fluffy at all. I'm going to use the eyedropper to a lot so I can select colors for my painting and use the same color palette as before. And I'm just detail ing the for and adding some highlights to it. Since we previously worked on the face and the plants, I'm actually seeing my teddy bear with fresh eyes and so I can really see where the details are needed. Let's compare days to the previous version of our study. You can see that the head is looking more fluffy and more realistic. The highlights I'm adding are mostly strands of hair that stand out from the rest. If you look at my reference picture. Your eyes are most certainly attracted to a few individual strands of hair that stand out and not to differ as a whole. These strands of hair are capturing the light, and so they color is lighter than the rest. So I'm trying to recreate this in my painting. I'm also going to detail the nose because I really like the lighting effect on top of it. So I finished adding the highlights and the fluffy texture to the head. So now I have to do exactly the same for the rest of the body. It's exactly the same process as before, so I've spent up my video. Otherwise, it would just be too long and repetitive. I know I keep saying that, but you got to enjoy the process. It's a slow process, but it's very rewarding when you're able to create any texture you're like. - Now let's slow down a little bit for the ribbon. I explained earlier that this picture is a little different. It's a kind of very shiny textile. Andi, I really want to recreate the same visual effect in my painting, re creating the same color palette. Here is a little bit tricky. There's a clear Grady ins because of the lighting on the ribbon, so I have to pick the right colors. But I also have to blend them enough so the lighting effect looks realistic. I'm using this much to actually to blend the colors together. This matter is not as precise as the blending technique I showed you earlier by just using your brush at low capacity and just having all these very thin layers of paint of a lapping each other. But the much do can be useful for small portions of the painting for small details like what we have here. So since we have this very interesting shiny texture on the ribbon, I'm going to select a texture brush that we're helping paint all these small dots on the textile. You can see that I'm trying a few different things. I'm not going to have the right effect on my first try. I can also paint all the small dots and small details by hand using just my regular brush. The fact that I'm creating these pictures on a new layer on top of everything else lets me raise my mistakes without ruining my painting. - I'm using my soft round brush at a very low capacity to add some touches of color, some orange to the ribbon. I'm going to do the same here, where the ribbon is even more shiny and I'm going to recreate the color Grady int for my from my reference picture. - Once the Grady in looks smooth, I'm going to add all the small specks of light by hand with a very small brush. You can, of course, simply use a texture brush if you prefer. So yes, the ribbon is looking very realistic. Now I'm just going to keep adding small details here and there until I'm happy with the results. But the teddy bear in its entirety is more or less finished. Let's switch to the plants and add some finishing touches to them as well. I'm going to rotate my canvas once more, and I'm still working on the same layer that is on top of everything else. I'm just going to detail all these blobs of color by adding a lot of small lines and kind of making it look like there are a lot of small pedals. - The finishing touches on your study are completely is capable if you're not interested in pushing the details so much. We talked about this in a previous video. It's better to decide what you want to accomplish with your study before starting it. So you know when it's finished, you can really push the details and the textures and make it photo realistic. Or if you're just interested in learning how to blend colors, you can totally skip this last part, since here are painting is already looking pretty realistic. You're the artist, so it's totally up to you. You probably already know what your strengths and your weaknesses are, so you know what you need to work on. - So again, I'm going to use the software, um, brush at a lower pass ity so I can add a touch of color without making all the details and textures underneath disappear. And after that, I'm just adding a few details here and there until I'm happy with the result. - Finally , let's add some finishing touches to our metal texture and most specifically, let's detailed. It's really cool lighting we have here once more. I started by creating a gray didn't of colors and blending it as much as possible, and then I'm going to insist on the highlights even more so they really stand out from the rest. This is going to give the medal a more realistic feel. This particular material reflects a lot more light than the other objects in our composition. And I really want to show that with the highlights. So now remember when I showed you how I would usually render metal with all these small scratches everywhere? We don't have those here in the reference picture. I could totally Adam, since I never really stick 100% of my references anyway. But I actually really like this kind of irregular texture I see on the vase. I'd like to try and see if I can recreate it in my painting. There are a lot of small bombs everywhere, so I'm adding random brushstrokes to see if I can create the same effect. If you're unsure about part of a texture you're creating, you can add it on a new layer, just in case the handle looks really old and dirty. Let's see if I can recreate the same effect on my painting. I'm adding scratches and random marks with a small brush, and this usually makes things look used and old. So here it is. Here's my study. It's finished. I'm just going to merge all the layers to show you how we get from this line. Our sketch toe, a fully rendered realism study. I hope you enjoyed the process as much as I did, and I hope the commentary helped you a little bit and that your use it for your future studies. But let's have a look at some more materials in the next videos. I'm going to show you a fun exercise where you will get to render a bunch of different materials without worrying about sketches or composition or anything like that. See you there. 13. Material Exercises 1 - 2: welcome back in this series of short exercises, we're going to use everything we learned in the previous lessons to render six different materials. The's material studies are going to be much more simple. We won't have to worry about creating a sketch. Where about the composition of it all? Since we'll be focusing on the materials themselves. This should also be way shorter. Each study took me roughly 30 minutes. So if you don't have the time to create a full still life study, or if you simply prefer shorter exercises desire for you I selected six very different materials so we can practice painting different textures for this kind of exercise. I usually find my references on Pinter rest. I have a board dedicated to materials and color palettes. I'll share the link with you so you can have a look at it if you addressed it. So let's get started with the first material. I've already created a new file with six panels. They're all loved, so you concede that I can only paint on the gray areas. We're going to start with the woods texture. It's very similar to what I did with the dried plants in my still life study. So remember when we talked about selecting a base color? If you look at the reference, we have a lot of different shades of brown with a lot of shadows and highlights, and from my base color, I want to pick something that's kind of in the middle. So nighter to dark, nerve to light. This is my base, and I'm going to be building everything else on top of that first color. Once I have the base color, I start rendering in the more darker tones. The shadows. This will give some volume to my painting. I always start with the darker tones first. I think it's easier that way than the other way around, starting with the highlights in this case. It also helps me detail the most important areas in the wood texture, the holes and the largest foods. It's basically a replacement for the sketch. I'm going to edit my colors a little bit and make them darker so I can now add some highlights. - It's very soft at first. I don't want to rush it. At this point, I'm still mapping everything, creating the different paths that I'll be detailing later. - Now that I have this very rough under painting, I'm going to scale down my brush a little bit so I can start working on the details. As you can see, I'm going to trace a lot of lines here not merely as many as in the reference picture, of course, but just enough to create the illusion of realism. This is my go to technique for anything with a natural texture, Beit Word or any type of plants and flowers. - After a few highlights, I go back to a dog, a color. Andi. I keep adding lines on. Little by little, it creates this wavy texture. - Now , at this point, my painting isn't nearly as colorful and bright as my reference, so I'm going to change the mode of my brush. I'm going to set it to some flight, and this lets me add some color to the painting without losing any of the details. I showed you how you can also do days with the self trump brush at a very low capacity, but changing the blending modes of your brush or your layer will make the color pop more. You can even create neon cholera effects this way, it's much more effective. So I'm adding some colors. I'm defining the shadows a little bit more, and I'm editing my collar palette, So it's really starting to look like my reference. I'm going to switch my brush back to normal so I can keep adding lines and highlights to the painting. I think this kind of exercise can be even more helpful for your observation skills because the references kind of abstract. It's just a close up of a specific texture so you can get distracted by the subject. It just got a copy in the texture as you see it. So I want to try a little something here. I'd like to accentuate all these wavy lines, so I'm going to select the liquefy tool, and you can see how I can quickly rearrange everything and kind of this toward the painting , and it's looking more organic now. I like it much better, and now we're back to our detailing. Make sure that you're not using the same one color for all your lines. Otherwise, in might end up looking like a drawing and not really a realistic painting. Also keep in mind that adding a light line next to a dark one will immediately give some volume to it. It will make it look for dimensional, and that's exactly what we're trying to do. Switch colors from time to time, try different shades of the same color and keep detailing your painting until you're happy with the result. - And now let's add some more lighting effects to the painting. I'm going to switch my brush mode again and set it to overlay. I'm lowering capacity as well. Otherwise it wouldn't be realistic, and I'm using white to paint this lighting effects. It really looks like some beams on the wood. You can also use a darker color to touch up the shadows. The important thing here is do not overdo it. It's such a fun effect that you can feel tempted to use it too much, which can really ruin the realism of your painting. - My material study is mostly finished. At this point, I just want to add some finishing touches, some more lines here and there, and it's done. - Now . Let's try a different one. We didn't really get to paint a lot of scratches and marks on our metal study from the still life, and this is so much fun. So I wanted to do a proper metal study with lots of scratches on it, so this one is going to be much quicker than the would study. As always with metal, I'm going to start by creating ingredient. In my reference, I see some pinks and oranges, some blues and a lot of gray. I'm going to blend this colors with the blur, too, - because I don't want the metal surface to be that smooth. I'm going to add some more details. I'm using a large textured brush so you can see that there are already a few marks and spots on the painting. And then when I'm ready, I start adding the scratches. I'm using a very small brush at low capacity, and I add, Oh, these random lines in an off white color. Some of the scratches will have ah, darker shade, of course, but most of them will be lighter. As you can see from my reference picture, - I just want to make a last adjustment to McGrady, and I'd like to increase the contrast here and have a more pronounced lighting. - The important thing when adding all the small imperfections and scratches is to make all the marks look random. So try to avoid creating patterns. We want to really make it look chaotic and random. Some scratches. They're going to be larger or brighter than the others, for example, and this is basically it. You can keep adding as many details to it as you like, but this is already a pretty realistic looking metal texture, and I haven't really cope it. My reference so much. You don't really have to recreate your reference with 100% accuracy for your painting or your study to be realistic. So this where our 1st 2 material studies feel free to practice these techniques on your Rome US warmups before a painting session, or simply to improve your rendering skills and see you in the next video. 14. Material Exercises 3 - 4: welcome back offered material study is going to be this cracked more. This type of texture is quite different from anything we've done so far, and the challenge here is going to be making this cracks look for dimensional. So let's start with the wall. I'm going to fill the hole canvas with this off white ish light gray color. I'm using my favorite texture brush so you can still see some dark grey speckles here and there from the doctor background. Now, if we take a look at my reference picture, the top of the wall seems slightly eliminated and the bottom is more in the shadows. The wall has a smooth surface that similar to another material. We just walked on the metal one. So once more I'm going to create a grade int between some different shades of light, gray and white. It's a very soft grade Indo. It's barely visible. I just want the top of my painting to be lighter on the bottom to be slightly darker. I'm going to start adding the cracks in the wall on a new layer. I'm going to use my brush at the very low capacity, just a kind of sketch all the different lines, and then when I'm happy with the result, I'm going to use a doctor tone and go over all the lines. - This looks a little bit like a pencil drawing, and it's really flat so far, so I'm going to have to give some volume to it. But owing to your time for now, I'm tracing all the cracks. If you look at my reference, some of the cracks and more pronounced than others. Some have very delicate and light lines, and others are more wide and dark, so it's important to not paint them all the same. That's why I like to start with very soft lines at first. And then I go back and emphasize some of, um, if you observe the reference, you also see that most of the larger kind of cracks happen at the intersection between two or several lines. So I'm doing my best to recreate Justus well, and to me, that's more important than copying exactly the same lines and patterns from the reference. That's why I didn't make a sketch for the lines or anything. When I do material studies, I use my reference more as a guide than anything else. I could try and come up with a drawing of a cracked well on my own, but using only my imagination would be very reductive. And I would totally miss a lot of what makes this wall look realistic in three dimensional . It's a common misconception that professional artists don't use references on the contrary to, the more serious you are about your art and about improving your skills, the more you end up doing research and collecting references for just about anything for the exercise we're working on right now, I only use one reference for painting because we're doing studies. I'm not creating original large. I'm just practicing. But for all my original pieces, no matter the subject or G R style, I always use multiple references for everything anatomy, color palettes and also different materials and textures. So my drawing off all the cracks is finished, and now I'll go over some of them and highlight them a little bit off a darker color. This will make the cracks stand out more. - Once I'm done with the cracks, I'm going to create a new layer and place it under the layer with all the cracks. That way I can add some highlights and shadows to all the different parts of the wall. The largest and most important cracks are going to have cast shadows under them, and that's what's really going to make the cracks looked for dimensional. - The more shadows I add, the more it looks like the wall is about to fall apart. - Then you can play with the contrast and make the shadows more or less visible. And that's it. We've finished another material study, so let's immediately jumped toe Study number four. What do we have? Let's go with this one. This looks a little bit like creased fabric, but also like twisted metal. I'm not exactly sure what the material is, but I really like this texture. Onda color palette is really nice, and if you do this study on your own, it will definitely help you paying close and different fabrics as always, Oh, start by choosing your base color for my painting here. It's something between violet and gray. Then I started adding the dark apportions the shadows to help me shape this study. Hopefully, by now, this technique holds no secrets for you. It doesn't matter much what type of material you're rendering. The process is usually the same here because I want us to really look like creased fabric. With these kind of wavy shapes, I'm going to use the liquefy tool, touch up some portions of my painting. Okay, so now odd the highlights. The contrast between the shadows and the highlights is going to give some volume to the shapes and make this study look realistic. - At this point, it's looking good, but it's still very rough. So I'm going to try and blend my colors as much as possible was to create a texture that is smooth like in my reference, I use my brush at low opacity Andi, selecting various colors from my study, I start blending everything together. I also noticed that my painting is looking a little bit too monochromatic, whereas my reference has some touches of color here and there. Some blues and some very light Brown's so still using my brush at the very low capacity, I'm going to add these touches of color on my painting. It's very subtle. And then I keep detailing the study on blending the colors together as much as possible. - There are also a lot of small details and imperfections in my reference picture that I'd like to recreate in my painting, So I'll be doing that once I've finished making the General Dexter look more smooth. It's a rather long process. It took the best part of the roughly 30 minutes I spent on this study. So don't worry if your study isn't looking the way it should. At first, blending a lot of different colors in the realistic manner just takes time. - So remember how I added some lighting effects to award texture? I used the oval a mode for my brush, so I'm going to do the same here and highlight a few spots in my painting. And finally, let's add some final details. Some scratches and imperfections like what we have in the reference picture. A lot of these details look like lines and small scribbles who can create using a small brush? Don't forget to switch between different colors and shades for the details so they look more realistic. - We also have this weird marks here that look like burns or perhaps rust, so I'm adding one off those and all material study number four is finished. See you in the next video for the two final studies 15. Material Exercises 5 - 6: welcome back to the series of short material studies. I will now be working on the last two exercises. I'll start with this texture. It looks like latex, and it's very shiny. I really like the color palette to in terms of shapes. It's quite similar or less material we painted on Lee. It's much more smooth and shiny, and I want to show you how to achieve this type of friend er. So let's start once more with the base color, the medium color that is neither too dark nor too light. Then, with a darker shade of blue, I'm going to sketch the different shapes and the places where they're going to be Some shadows. Since I really want to recreate the same color pilot, I'm also going to sample some different blues and already put them in my painting and next time taking care of the highlights, though this is very much a sketch. Still, I just want to make sure that I have roughly the right shapes and the right colors before I start really rendering and detail ing the painting. After that, it's all about blending your colors on adding more depth. Three. Painting with the shadows and the highlights. Once you spend some time using a lot of references, you see that this process will get easier and easier. You'll also be able to come up with realistic renders on your own, especially for materials you've painted a lot. And although I always recommend using references, no matter your skill level, it's great to know that you're capable off rendering different materials on your own. And it's gonna be useful when you don't have access to the Internet, for example, so I'm still blending old is different shapes and colors and making sure that all the shadows onda highlights are there. But I'm not trying to make the material of glossy and shiny At this point. I'll be adding all these white highlights at the end on a different layer so they don't make swift everything else. For now, I'm focusing on the colors. I'm also going to blur the painting just a little bit, not too much, or all the details will disappear. And now let's take care off the white highlights. I create a new layer on, and I'll start with an off white color look at the reference. While the highlights aren't pure white. Some of them look almost translucent, so I'm using this stuffed gray blue color for them. Don't forget that you can rearrange them, of course, transform their shapes or change their color at any point for the highlights themselves. I'm going to use pure white. It's something I don't do very often, especially for studies, because it's very rare for pure white or pure black to be visible in, ah, realistic, still life setting. But here, since it's a close up of a specific material with this very direct lighting, it kind of makes sense. Toe have this very pure and very bright wide highlights. It's very fun to paint dues because they immediately infuse the painting with realism. This particular glow surrender will help paint realistic looking plastic or even glass. It's a really good exercise, - so at this point in the process, you can go back to a previous layer to detail the painting a little bit more. Or you can keep adding small lighting effects until you're happy with the results. - Finally , let's have a look at the last material will be painting in this class. I chose this kind of snakeskin or lizard scales type of texture. It can be really useful for fantasy artists. If you'd like to paint a dragon, for example, I'll start with my base color, and I'll immediately take care off the very specific lighting we have here. With the shadows on the right and the highlights on the left, this material study will be a lot of the same stuff painted over and over again. Since we have all these scales. Actually, I'll just paint a close up off my reference picture. There's no need to render everything so. Basically, I start by detailing a few rows of scales. They seem to be overlapping a little bit, so the base of the scales is in the shadows and they have highlights on their edges. I'll be adding a few largest gales here and there for the contrast, but it's mostly more of the same small rose and scales. - Now this right here is already looking pretty convincing to me. If you were painting this texture somewhere farther in the background of your illustration , it will be realistic enough. But since we're doing a full realistic material render, I'm going to keep the tailing this I just wanted to mention something about references. In this course, we mostly used one reference per painting or even one reference for material. But I wanted to tell you that it's OK, and it's even recommended to use multiple references for everything you paint. Even for simple material studies like days, you can select a few of your favorite photos of lizard scales, for example, with different color palettes and different shapes, and your painting would be a compass. It off old is references. This is how professional artists use references for their work, and I think it could be very helpful for beginners as well, - so back to our scale texture, since it has this particular overlapping structure. Each scale has a cast shadow, so each row of scales creates a shadow on top of the next role of scales. It's something that I have to recreate in my painting to really make it look three dimensional. There are also highlights on the edge of each scale, so I'm going to add that to with a lighter color, but not pure white. Of course, just like I didn't use pure black for the shadows. There's nothing smooth or glow see about this particular texture. So my brush strokes are kind of boulder, and I don't worry too much about blending the colors. It's okay if my brush creates additional textures. I'm actually counting on it, so I'm not using a self brush. - At this point. It's all about detail ing all the scales and given them the illusion of volume with some highlights and shadows. And this, concludes Alford material exercises session. I hope you enjoyed it and found it useful. These are all fairly short exercises. You can do one of those in 30 minutes to one hour and really see the difference. After a few sessions, both your observation skills and you're rendering skills need practicing. And in my experience, this is one of the shortest and easiest ways to practice. Don't forget that you can use my special materials and color palettes board on Pinterest for inspiration, or you can create your own and collect interesting references for your future paintings. 16. Outro: Thank you so much for watching this class. I hope you enjoyed it as much as injured creating it. Now it's time to start doing your own studies and improving your rendering skills and your observation skills. I'd love to see what you come up with. So feel free to share your class project and don't hesitate to ask any questions you might have. Don't forget to follow me. So you want Miss my next class. And you can also follow me on Twitter and Instagram Happy painting.