Traditional Looks for Digital Paintings | Wesley Gardner | Skillshare

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Traditional Looks for Digital Paintings

teacher avatar Wesley Gardner, Illustrator, Painter

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

5 Lessons (1h 54m)
    • 1. Course Intro

      3:14
    • 2. The Multiply Method

      25:11
    • 3. The 1% Method

      35:06
    • 4. The Gauntlet Method and Course Outro

      31:55
    • 5. BONUS: Supplies, Resources, and References

      18:13
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About This Class

Have you ever wanted that rich, textural look of paint on canvas within your digital art?

This course will show you THREE amazing (and easy-to-learn!) techniques to get beautiful, traditional looking results in your art!

Also included are great tips, FREE resources (such as images and a brush pack!), and nearly TWO HOURS of real-time, coached lessons from a professional digital and traditional artist!

Meet Your Teacher

Teacher Profile Image

Wesley Gardner

Illustrator, Painter

Teacher

Hello! My name is Wesley Gardner, and I'm a full-time professional illustrator, concept artist, and art instructor with credits that include Warhammer 40k: Wrath & Glory, ADIDAS, ImagineFX Magazine, GeneFunk 2090, independent films, book covers, and video games!

I'm excited to join the Skillshare family, as my favorite part of being an artist is sharing and seeing the passion of artistic expression with other creative, like-minded people!

I'm excited about our artistic journey together, and I'm very grateful to be part of your process!

Feel free to reach out here on Skillshare, or through social media if you have any questions or just want to say hi!

Welcome aboard, and I can't wait to see you in class!

- Wes

 

 Here is some of ... See full profile

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Transcripts

1. Course Intro: Hey, Skill share. How are you? My name is West Gardner. I am a professional concept artist and illustrator with credits in the video game book cover album. Cover an independent film industry. And I love visual art, all sorts of his or whether it's traditional or that move to digital. I am all about it. You can probably see maybe some stuff behind me. I have traditional oil painting skills, watercolors, acrylics. I've been a traditional artist my entire life, and I've recently over the past five or six years made the move pretty much solely to digital. But there was always something missing in my digital work until recently. I always love the emotion in that physicality in the visceral nature of traditional art, where you can see the brushstrokes and you can see the decision making. And I wanted to bring that life over to my digital work, and that's why I'm here with you today. I found out three awesome ways how to do it. I want to share them with you, and we're gonna go over it very, very quickly and very easy to follow steps and be sure just here for skill share. You're gonna have an exclusive look at a bonus video I'm gonna do where we're gonna use all three of these methods together in real time while I narrate and make it digital painting for you all to see, to be able to enjoy, to be able to mess around with manipulate whatever you would like. But what you're gonna need for this course is some sort of device that can have in a piece of art software. I will be using photo shop. However, I will make a recommendations list for something such as critic or sketchbook. If you're on a budget, those air absolutely free. Also, if you're watching on a cell phone, you will also have the ability to get some awesome free to use and free to produce art pieces of software on your phone So you can still replicate these methods on the go, which is awesome, that technologies so much greater now than it was even gosh two years ago. So if you wanna have that vibrancy of art, you can have it. Anywhere you go, we're gonna learn three methods. Each will be dedicated with its own lesson, and you will be able to follow along and I will explain them with real time footage of me doing the steps plus some cheat sheets that you can download or pause on the screen, and you can actually see what the steps are in order. And the three methods were going to use one is what I consider the multiply method. The second is going to be called the 1% method. And the 3rd 1 the real doozy is gonna be called the gauntlet method. So it sounds scary. Don't worry if we're all gonna be okay. Uh, but I'll be with you the entire way we go through this. If you have any questions, please let me know. I can't wait to get started. And you gotta show me your work. At the end of this, we're gonna do a wrap up, ask you how you feel about it, see what you learn. See if something could have been helped a little bit. I'm always open for critique. So without further ado, nothing. Me jibber jabbering, man. Let's get to it. Let's make some awesome art and make your digital art have that beautiful, vibrant, traditional feel to it. Let's go 2. The Multiply Method: a class. Welcome to the first part of the three part series on how to get that rich painterly effect on your digital art. Yeah, I'm your instructor. What's up? Hopefully you saw the intro video. Hopefully, you saw the, uh let me get the video appear. Hopefully you saw the interim, but I also made a bonus video that goes kind of more in depth on some of the things you might be able to download. What type of device you have just to kind of get you caught up where you don't have to spend a fortune to be able to follow along. In fact, some of the better our programs on the computer or Mac or Lennox or completely free. So give that a look. If you haven't already, I'm gonna try to keep these steps. And everything is simple and reproducible as possible across a wide variety of different programs. So the first method we're gonna be looking at in this video is called the Multiply Method, and I will be showing you how to do it in photo shop. Also, I will be showing you how to do it in critica, which is one of the free programs that you can get and then also how to do it in art rage, which is my personal favorite in using this method, and you'll probably see why. But before we even get started, I do wanna show you what the steps are. It's only about five steps, not too bad. It will be easy to follow along. I'm gonna reproduce it, live in real time with all three of these programs. So, basically, what is the multiply method? Well, it uses, Um, really What's a multiply blending layer? So blending layers blending modes in digital art have to do with the mathematical way that certain things blend into other things that's very bearable his way to say it but does a lot of math. It deals with a lot of number crunching and heavy lifting in regards to light in spectrums and things like that. So it gets pretty scientific. There's a lot of good articles online, but I wanted to break down these Met. This meant that really quick and all the methods are gonna be like this. I'm gonna have a downloadable image that you guys can actually have for your records. I'm also gonna keep it up here that way if you want to take a screenshot or something like that before we dig in. But overall, what this is the first thing you're going to do is you're basically gonna make your art, whether it's already made or you know, you're doing a painting or graphic design thing and it needs that kind of textural look. Go ahead and get it ready. So get the thing pretty much ready. This is what's called a finishing step. This is gonna be the thing you do need the very, very end just to really put that bow on it make it nice and pretty and neat. And what you're gonna do is you're gonna create a brand new layer above your current working later. Basically, we're just gonna make a brand new empty layer up above are layers that we already have on. Then you're gonna set that layer blending mode to multiply. Now multiply does a variety of different things, but basically it darkens and lightens. And yeah, all that math is pretty crazy. But I don't even know all of the steps of what it does. I've read about it. I've seen it, but I use it a lot, and I use it quite a bit and you'll see why here momentarily. But the most important part, in my opinion, for this to use, multiply, make sure whenever you select your brush that it's gonna have two things. One that it's gonna be white. So change your color wheel or whatever color you have toe white or something very, very, very bright and light on that value scale close to the pure white on Get a textured brush. Get something that hasn't texture that can mimic like a paintbrush or chalk or, ah, lot of your digital art programs are gonna have paint brushes. Use those the more texture the better, and you'll see why. But then what you're gonna do is you're basically on that multiply layer with your white brush. You're gonna paint over your main focal points or areas that you want the audience to see quickly. Eso you do like area focal point. High saturation Highlight. Maybe maybe a change in shape if you have a lot of buildings, but then there's a ball in the middle. You'll do this circle so it really is gonna grab that audiences attention. And then for an extra bit you can use a bevel or M boss filter to really play with that three dimensional look. So what we're gonna do, I'm gonna come over to the mainstream. So Hey, I'm down here. Hopefully that made sense. But if not, we're going to do these very, very quickly. It's super easy to do. I actually will be providing this image. It's a quick little pain over idea of some apples. I got the reference photo off of pencils and then I went in just a threw around some pain a little bit. Just change them sizes, did some stuff like that. So here we go. Here's our digital painting, okay? And what I'm gonna do, I'm gonna put on my trusty glove because I do have a touch tablet. If you don't have one, that's a OK. It is not necessary. Toe have one. You can do this with a mouse. However, I do prefer using something that mimics drawing or painting just makes it easier. But anyways, so let's say we have okay, we're fine with this way, have our peace, and then we want to go in and we want to actually do the multiply method. The first thing I'm gonna do if you see my mouse right here, I'm going to come down here to where my layers are. And I actually already set one up, but I'm gonna do this from scratch, so I'm gonna get rid of that multiply layer. I have already say this is our peace. We just have our peace. Hey, this is cool. Now I want to do the multiply later. I'm gonna come over here and I'm gonna click my new later button whether you have a hot key for it or something similar. That way you have a new layer, you're gonna click and you're going to notice It's on normal blending mode right now. This is where we're going to change it to multiply. So you're going to see a ton of these? I recommend just taking an afternoon taken some time, play with all of these, just play around. That's the cool thing about digital art. You really can't break anything and you can always undo. You can always do stuff like that until we get to the gauntlet method, and that's gonna be a doozy. But, uh, But with this one, let's pick, multiply And now you're still going to see right here. It's kind of a blank later, there's still nothing on it. Um, so let me go ahead and get a white brush. So I have the newest version of, ah, photo shop. You don't need it on. Like I said, I'm just showing Is this part of it? But just to show normally what I have is a color wheel right here on Bennett has hue saturation, like how much of a color there is and then brightness. How black or white is something I'll crank that all the way to 100% white, and then I'm gonna find a brush, some breast that has some sort of texture. So this is actually my free brush pack. I will have a link to it in the notes in the description of this course. It's a holiday gift pack, and it has nine cool brushes that you can use in your digital art. So like a toilet brush, sketching brushes, some clouds, some cool things like that, but also a few really good paintbrush brushes because I love it so and these will be completely free for you. And they also work in things like credit and sketchbook, which are free of charge. So hey, free brushes on free programs, You can't beat it. Let's go. I'm gonna click on lovely paint, and what I'm gonna do is I'm gonna do this, and at first you're not gonna see anything. So I have my pin. I have my breast right here. I'm gonna go and remember, I'm on my multiply layer. In fact, let me go ahead and rename the Slayer. So I'm just gonna hover over words his later to from the double click, then multiply. There we go. Just the make it easier to keep track of. I'm gonna keep my white brush and then I'm going to start painting, and it looks like absolutely nothing changes. Right? So I'm just kind of tracing over, Kind of replicating some of these, you know, big sweeps. Um, kind of the big brush work that I did earlier. Just gonna kind of come through here, Do this. Do some of this just kind of thrust stuff around that way. Okay, That looks like absolutely nothing happened. But do you remember in the steps let me. Let me go back here. Do you remember in the steps at the bottom tour I say for an extra bit of impact, use a bevel or in Boss Filter? Let's do that right now. So on our multiply later, let's click over on the FX panel, and I'm gonna do bevel in. And boss, don't keep your eye in the middle of the screen. Check this out. Level in, Boss. Now you see where everything is. All those marks said I made that. Didn't really look like much of anything. Now you can start playing around with death, So if you see, this looks kind of ridiculous right now, right? So what we can do is let's change like the style we can change it like outer bevel. So now it starts mimicking more of that imposter. Oh, look, um, then you know if we're gonna make the death really deep, it can actually, it almost looks like it's carving into the canvas, you know? And so all of these, that's what's so great about this is these are all sliders. You know what I mean? You can even change the direction that the light is coming from eso. I usually like some sort of like 45 degree angles where the light's kind of coming down diagonally that usually catches paint strokes the best. But then you also get the cool thing of being able Teoh change like your highlight colors so you can actually make it fairly customized in this way. On Ben, your shadows, you can have those be a little bit different color and those air a little harder to see. But since all of this is reds, I could actually kind of keep this with a darker, um, kind of a darker red right here. Just kind of keep it thematic. Um, yes, soft light. The different blending modes on these is while blending modes of great There's so many of them you could lose the whole day just playing around with those. But we get something that looks similar to this. And now what's great is since you have this bevel and emboss effect on your multiply layer Now I'm gonna go back and paint and you're gonna see, like where my mouth says right here you're actually going to see it show up in real time. The other nice thing I like about this is you can always paint over it, Teoh, get those battles where you want them. So coming. It's almost like you're carving away, You know what I mean? So let's say you just wanted that outline of the apple have that kind of look you can actually come in, induce something like this, You know what I mean? Um, and don't worry if some of your strokes go in a place that you're not really wanting them to, because the other cool thing with this is the erase tool works with it as well. So you can curve away some of these brushes. So if I'm gonna click E button to go to my eraser tool and my lovely pain is also my eraser , you can actually come in. And you see this Now you're getting some really cool texture just on that, um, you can really play around with this one. Really cool stuff. And see, this is right. Now, um, let me actually zoom all the way in, because right now I think we're at 43% size. My image is a pretty big one. So if I click 100% and it makes it. You see all those little tiny grains and hits and things like that, a really cool way to do it, right? So that's how we're going to do it in photo shop, just to kind of get that and pasta smudgy. Look, let's move over to critic in the same thing. So once again we have our file open. We're actually going to come over here to click New Layer. The later is gonna be on top once again. Weird where it says normal right here now critics a little different. You may not seem multiply in this right here, but under the arithmetic. You remember how I said. A lot of this is mathematical. It's under the arithmetic setting. If you hit, multiply and remember or actually let me show you an example. I always say, Get a white or very light color. If you get a slightly darker color like a gray or red like this, here's what it looks like. It doesn't look bad. Just it makes it look almost like surreal. So now we have the red and you see that looks really cool, right? And I just have a basic paintbrush from credit that comes installed. You don't even have to buy anything extra. They have just great paint. Looks right here and you see how it's has a cool texture But how it's red, You see what I mean? So all we're going to do if we bring that over the white and come back over it almost like , erases it, You know what I mean? So on cred A. What I like to do is I actually do like to give it a little bit. It's not pure white. It's just a little a little something. And I'm gonna come back around here and you see how it's kind of flattening the color since it is white but sort of gray once again, what we can do, we can kind of trace over this, and maybe we like the effect. Maybe we like the effect. Let's add a little bit of that color back to it. Let's bring it a little bit into the red. Some of those warms, but you see what happens. It really darkens the values, so that's why multiply can be a little bit tricky is it can really mess with those values if you're not careful Um, but it's a cool way to kind of player and looked through something crazy. Let's get like yellow Sounded look very good, but let's get like, bright yellow. It's almost like a highlighter. You see what I mean? So this might even be good, but say you had an orange next to here. He had an orange, like right here, then. Hey, there's our orange. Um, if we wanted that reflected light off oven orange to come and hit here, you see what I mean? So now you have some of this. And once again, if you hit E for Eraser and do the same thing, you can carve away some of those strokes as well. So this gives you a lot of options. But let's say you wanted to, uh, here, we're gonna get rid of our makeshift like lemon orange thing. Um, let's say you have Oh, and that back. Let's head back over to the red. It's come back toe white. Bring this over. Let's say we want to do the same thing and add, um, let's see. So if we come over to where we had, I haven't been incredibly well, I should have done this first, but that's part of fun of these is like surfing around trying to find, um, the deals. So if we come over here, let's go to settings. Let's go to tools, Filter. Here we go. A just, um, no artistic. We could use something like oil paint. Probably about that book. Cool lends motion blur, maximize channels, edge detection. Enhance. So, um, boss, here we go. So anything, bevel and then boss is gonna be our ticket. So if you do, like in Boston horizontal only for his own vertical in Boston. All directions. And boss with variable depth. Let's try that one. Because we want to control how deep that in pasta looks. So if we click here and we can see where our brushes were, Right. So if we have that size would see where we're are. Okay. Here we go. Sorry. It was on my other monitor. I have three monitors here. So So let's do this debt. This 30. Let's bring it down to five and hit that. Oh, I guess 10 is the smallest It can go. Is that right? And then the highest thinking maybe go is interesting, huh? Soon, some cool stuff. Um, so let's bring this up. We'll preview there, will hit. Okay, so it makes it pretty gray. What we can maybe do then, Since we have it all, multiply the opacity of the layer. We bring that down. Now you're getting a little bit a little bit more. So let's zoom in. So now we're 100% right here. So once again, if we look here, you can start seeing those paint strokes. It did change the value slightly, so definitely be in control of it. Remember, you're the artist. You're the person telling the program what to do. But now, since we didn't critter, it's a slightly different technique, but very similar, um, leads to art rage. And this is why you guys are gonna freak out whenever you see what art rage can do. So outrages the most similar to like actually painting on a canvas that I've ever seen. So let's say we have our image open here in heart rate. Um, we're gonna make a brand new later, and this also works on art rate light, which is the less expensive version, which I also highly recommend. We're gonna click on the second layer. Once again, we're going to click on the little properties. It's a little folder, like a little drop down folder, and then you're going to see something called blend mode. So that's why I mentioned the blend style earlier or blending mode of a layer. That's what multiply and, you know, soft, light, hard light, vivid, light, dark and multiply all of those air going to be different blending modes on how the later blends with information underneath it. Okay, um, so we have here, let's do our blend mode. What do you think it's gonna be? Multiply. Perfect. Now check this out. I'm gonna get my oil brush. So let me, actually you know what I'm gonna do for here. Let me, um, do over. Let me get rid of my I'm still here. Trust me. I'm still here. So we're gonna get our oil brush right here. And I like the setting thick gloss because what it does is it has that built in bevel and emboss. So let's check this out. OK, so we're going to do this, and actually, I'm gonna do a square one because I think that's the coolest Look. So here some of the I have some custom ones that I made, but I think thick, glossy and thick glass square comes standard with art, rage and art rage light. Um, so I'm gonna make this a little bigger right here. Check this out as I paint. I don't even know if that's picking up super well. But what I'm gonna do in a minute is I'm gonna zoom in all the way, and I want you to see what this looks like because it's ridiculous. It looks really Yeah. See? Okay, some of these you can probably see some of this. And as I come back over, some of this kind of you can always paint over and kind of once again kind of sculpt those angles and sculpt how that looks and the most effective use of this method. You see, like, right there how you can see the paint strokes. And then if you kind of go over a little bit more up top now it's mimicking that lining. So it looks more and more like you did these paint strokes, you know, realistically there matching the direction of your paintbrush, the colors changing and the values changing makes sense because your brush strokes are there as well. So we don't have that. It's just money that up a little bit. And this works great with long strokes and also the short, choppy ones. You can almost hear that I'm going like dot, dot, dot On my tablet here. Very cool. So we have those. So once again, just kind of going over where the highlights are and things like that. So now we have that it probably doesn't look too much different until if we want to zoom in once again, work 50% zoom, Let's go toe 100% zoom and hit. OK, now look at this. Look at some of these. Is that not ridiculous? It just doesn't immediately and see, since we're here, I'm just going to do some more stuff up here, see how that works, and then you can just kind of slightly brush it away. You can really get specific. So let's say we want to do this stem and make the Stam. I'm hitting a shortcut key to make my brush smaller. Let's say you want to make this stem look. You see what I mean? Just very subtle. I think the coolest part about this is you have complete control over what it looks like. And so once people, you could put this on a canvas and you like you could print it off digitally on a canvas or something. Um, people, the untrained eye may not even be able to know the difference. Genuinely. They'll be like, Oh, look of his brush strokes, you know? And like I said, our trade in my paint storm studio. Any Carell painters? I've never won any sort of program that gives you what they consider realistic boil brushes are gonna be great with this technique simply because they can mimic that depth in the lighting and things like that. Um, very, very cool. I love this technique, but yeah, once you see once again and then, um, yeah, that's a 100% right there. So if I bring it back here, if it's far enough away, you really can't even tell until you look up close. And then people like, Oh, my gosh, little that texture. Look it. Look at how all of this looks. Oh, my gosh. Can you believe it? How much time did this take you? They don't know the secret, but you do you know that secret now? So, uh so hopefully that's been helpful for this one. I don't make it too long, but once again, let's go over the steps for any piece that you might have. So the multiply method, you're going to take some sort of piece of art you're gonna make a brand new layer on top and change that blending mode over to multiply the best versions of the best techniques that I've seen. And I've used personally for personal and for plant work have used either a white brush or a very light brush. That way, it can really show off just the texture, not necessarily the color of what your coloring, Um, on that layer, I should say. But it's still showing all the color from the layers below. It s so what you're gonna do is you paint over any point you want to draw attention to. You can do long strides, short bursts, whatever you might like. And then, if you want to really make it that in Pasto kind of deep carved in or sticking out off of the canvas, you could mess with the bevel and emboss filter you can also use. I know credit has the oil paint filter. I bet that would work really well once again, a lot of these things just depends on what you're gonna be using If you have just basic photo shop or Photoshopped elements or something similar. I think there's a chalk brush that works pretty well. Hopefully, these steps will get you headed in the right direction. Kind of spark your imagination cause that's what that's what all this is, anyway is a way to spark your imagination. Teoh, get whatever ideas in your head out there and we have to remember probably the most important thing of all. I went over this in the intro and kind of bonus video showing everything the most important rule in all of my courses. Every single one and you're going to see it here in every lesson of traditional looks to digital painting is gonna be the golden rule. So remember, if it looks good, it is good. So once again, please play around with these modes, play around with the brushes around. So that's the fun of this. You don't have to, like, spend a lot of money on campuses and paints and oils and pallets, and you have it all right there, right at your fingertips. But let's go on to the 1% rule. I think you're really gonna like it. That's a little more technical. Not too bad. Don't worry. I'll be here every step of the way. But the Cheat Sheets will still use our same Apple picture. And then after that, the doozy is gonna be the gauntlet. I mean, we're gonna get you guys prepped and ready because it's gonna it's gonna blow your mind. You have to think different, like flip that 180 degrees. Whatever you're thinking, old man. Crazy. But I hope this was great. Let me know in the comments, let me know. My responded to me on social media at cometo hobo K m i d a h o b o instagram Twitter All that good stuff. I'll be in the forms discussion groups here on skill share. Please let me know. But let's move on over to the 1% 3. The 1% Method: a glass. Welcome back. Welcome to the next lesson where we're going to go into the 1% method. Hope you learned a little something in the multiply method. So the main difference between the multiply method that we did previously and the 1% method the 1% method is a little more kind of in the weeds as faras using specific work flows within the digital painting Softwares. And just like last time, how I did three example of the multiply method in photo shop. I think Rita and then art rage. This time I'm going to do it in photo shop critica. And then I'm actually going to do paint storm studio. That was another one of those, uh, less expensive, but still something you have to pay for pieces of software that works on Mac and PC that we just kind of get a little variety of the different tools that I use and how a lot of the things just really makes sense across the board, no matter what software you're using. So what we're gonna look at now is the 1% method. And just like previously, um, what we're gonna do is we're gonna look at the cheat sheet, which you can download, actually, as well as the little Apple portrait picture that I painted up real quick. You condemn with that to be able to follow along as well. But we're gonna look at the cheat sheet for the 1% method, and there's a very specific reason why we call it the 1% method. And it will make sense. Just hearing it won't make sense. But seeing it, you'd be like, Oh, I get what's going on now. So what's moved over to here? So the 1% method we are going to create a merged copy of our work basically a copy, um, of our work of what Everything is on the canvas. I'll show you how to do that. It's really easy to do. Basically, I refer to It is kind of What you see is what you get. Everything that's visible is gonna be merged onto a single layer that will not interrupt the stuff that's actually on each individual here, so that this is what I mean. We're going to start getting more into the nitty gritty a photo shop in some of these digital art techniques. But I think this one's a really important one because you can use this in all walks of digital art life, whether it's traditional or like giving the traditional feel or digital graphic design Web design merging. And you know, Layer management is a big deal. So that's why we're gonna dig into that on this one. But what we're gonna do is we're gonna make emerged copy and a duplicated of our current work. Now, we're gonna put the duplicate above the first later so you're gonna have on the layer on the bottom or the multiple layers on the bottom, which will be your first piece. Then that new duplicate that's merged together is gonna be above that. And then what we're gonna do is make a new blank layer. Now, trust me, it sounds ridiculous. But whenever you see the effect, it might blow you away. Then you're gonna put that that trans parents the new empty layer in between your original set of layers in your duplicates. So but here I said, think of it like a sandwich where you have your original stuff at the bottom of it. That's the bottom piece of bread Then you have your transparent brain new layer that has nothing on it in the middle. And then on the top layer, that top piece of bread is gonna be the duplicated slash merged layer on Ben. What you're gonna do with that top most layer is your gonna bring that opacity or the fill depending on what our program you use. Some of them don't have the Phil really didn t differences a passage, and they'll do the same thing unless you have stuff like effects, like a glow or a drop shadow or stroke. Or, you know, inner bevel bevel in boss that we talked about earlier. Uh, opacity changes the visibility of all of that. So what's on your layer? Plus the effects Phil Onley relates to the actual It doesn't mess with the effects. If that makes sense so you can make your if you use film and put the field down to 10% everything on the layer will be 10%. But if you did a drop shadow, that would still be the 100%. So there a lot the same. But they are used for different reasons. I prefer the film method, but If your program only has opacity, you can still do this. So you're gonna What you're gonna do is take that top layer, change it toe 1% either a passage here, Phil. Then merge it down with your transparent layer and it's gonna look like it disappears and goes nowhere. But all of that data is still on there. And then what? You're gonna uses a smear brush kind of a pastel, brush a mixer, brush something painterly and start smudging around some of these things. So I know that's a lot to take it. I know. It's a lot to take in. I think you're gonna be surprised at how easy it is whenever you see it done. Step by. Step on, Ben. You're going to see this nice, smooth look toe where you have your original piece on the bottom, right? Almost like a tracing paper. And then you're gonna have this 1% merged, you know, fancy. Dude, add on top of that tour, whenever you smudge and mix and all this other stuff, it brings it all together. It's really, really cool. So what we're gonna do, we're actually gonna hop on over to the uh, do the monitor here. I'm in photo shop right now, but like I said, we're gonna be doing this with Critica and also with Paint Storm studio. We're gonna see how similar the whole technique is. So once again, we have our apple right here. So if you want to open it up, I do have a background layer. You don't need that. In fact, I can actually get rid of that just to simplify this, to really show the And by the way, if you ever want to get rid of this background layer, you can either like, merge this down with it or if you double click it, it will unlock it. You can select it and hit the week. So we have our original layer. Just imagine this is everything. What we see right here is what we like on the screen. So the first thing I'm gonna do is I'm gonna come up to select all you want to see the little dancing ants. I know. It's not super clear. This is high, def, but it's like they're tiny, tiny, kind of around here. Everything that selected is gonna have the dancing answer. Um, everything's right here. So you're going to actually come over to edit copy merged, which means it's going to basically take a snapshot of everything you have visible. So if a waiter's invisible, it's not going to get copied with this. It's only copying your merged visible layers. So we're gonna copy merged. And then if you want to take a look right down here to where we have, you know, our layers and stuff I'm actually gonna edit in paste. Now we have an exact duplicate, an exact duplicate of what we have right here. OK, you with me so far. So what was that next step? We have our bottom later. So we have a bottom piece of bread. We have our top piece of bread. Now we want that middle, that nice, cool middle that's going to do a lot of good work for us so you can click new later right down here, and then you're just going to see a blank layer, and that's perfect. So you're actually going to drag and drop this layer in the middle? So now you see that sandwich effect? You see that original art on the bottom, the duplicate on top in the middle. Is that that invisible one? It has nothing on it. So what we're gonna do, we're gonna click over on our layer. Then we're gonna bring C and I'm gonna use the fill. But if you don't have a fill option on whatever our programmer using feel free to use a passage for this, it's the same cause we don't have any effects show. Okay, so with Phil, I'm gonna bring this down all the way to 1%. Now, why? 1%? I don't want to get really like mathematical in my mind blowing stuff, but with 1% it's still keeping all of the data of what you have. So, like, what? Pixels are red and what pixels are in the shadow and what it has all the information there . So it's not completely disappeared. It's not a 0% toe where it's invisible. It has 1%. So it's not overbearing. It's not gonna really like how the multiply was really kind of loud and and in your face this won't be that. But I think you're really gonna dig what's gonna happen with it. So we're gonna do this. This is at 1% Now. Now I'm going to right click and there's and whenever we look at the other Softwares or other shortcuts to do this. But remember, this is your top piece of bread. Now that it's at a 1% Phil or opacity, you're going to right click it and you're gonna merge down and watch what happens. So let me actually move out here. So remember, we got a bottom. We got our multiply. No, we got our bottom right there. We got our middle layer, uh, which is transparent. And then we have our top layer, which we lowered the 1% Now watch what happens when we right click. Emerging down emerges to our invisible layer. But all of our data of what the pieces is actually in those invisible pixels, which is crazy, right? Like what? So this is why it's called the 1% method. Now check this out in photo shop. I love the mixer brush. It's something that kind of replicates that nice kind of creamy paint look that you would have with acrylics or oils, watercolors that where you put the brush in that kind of smears and smudges so it does a lot of paints, and it's much is at the same time. So I'm gonna do this. And once again, I'm going to use the lovely paint right down here, which is from my hero, so that Okay, so now my webcam is not blocking it. We're gonna use lovely pink, which you guys will have access to. Actually, it's gonna be on the a B r. That is attached to this course A B r stands for adobe brush pack. And you're gonna get this one. It has nine brushes. Feel free to use him on anything. Personal work, professional work. What have you I love these. These air kind of a sample platter from my West Gardner 2020 brush pack. Which cheap plug is It is on sale, but that comes with over 30 brushes. So if you like this type of stuff, maybe think about it. It's only two bucks. Not bad at all. So if we got a lovely paint and then what I'm gonna do is color select. So whenever you're in a mixer brush mode, you're going to see you see this little red square up here. This says okay. What are we mixing what color are remixing? So instead of it being a color picker, this is what's considered a texture or a pattern picker so you can actually pick patterns from all around your canvas. So if I hold down the old button to bring up you see a little like eyedropper comes up, this is gonna be a selection tool. So if I click like right here, you're gonna notice that it looks like a color. But if I may be, come right here. These Oh, here's one of the cool options. If I just click load solid colors, only it will act as a color picker. But uncheck that because what I want to do, it's actually want to come in here and get some of this nice texture in See how instead of now, instead of the eyedropper, it turns in like a little bull's eye. Now it's going to select. What area are we at? Okay, um, so then we're gonna come over and just start painting and you see what happens. There is a sense of, I don't know. There's like a There's this nice, nice sense of slight smudges. Um, just very cool, like you can mix with the mixes with wets with things like that, you can even switch toe like I want this to be like paint dab. I think I know exactly what happened. I think this is a good lesson. Kids this crashed are Photoshopped. I think it did up area. Okay, it's catching up with itself. So that is something to keep in mind. You see what? It's all kind of kicking over. This is something to keep in mind. Things like the mixer brush is can be a little more arduous on Guy will say photo shop. God love him. God love adobe. But photo shop is more likely to crash during this method than the other ones we're gonna look at rather than credit. Doesn't crash doing it. Pink shop pro or paint shop pro A paint storm studio paint shop, Those old 10 my goodness, That age me quite a bit. By the way, you aren't rage. Those kind of handle this really well cause it's more of a painterly approach. But as you can kind of see here if I come in and I'm using paint dab, I moved over to that kind of kick it into full gear on. And then I'm using the brackets open and close to make my breasts bigger and smaller. You're gonna see Oh, yeah, I think it's cause I'm recording that. It's not liking. This is Well, okay, so now you see that it's catching up with it. Right? Um, texture in line. Let's go back to a lovely pain. I think that'll be a little less crazy. Okay, Cool. Yeah. Here we go. So now you see how this is Sort of mixing a lot of this stuff in, and it's starting to make it look like oil paint. Right? So this is where things like, uh, really seeing. There you go see and look at that. Like it has all the data. Basically, what this is doing is pushing around all those pixels. Right? Um so if we come over here, I'm gonna hold all to select this little pattern. Then come over here. Just really start kind of playing around with some of these orange highlight e portions of this apple, and you can see what it's doing. It's given it a little bit a life, a little bit of that more, you know, kind of a Jess owed canvas. Yeah, CV, that sort of smear effect that we got going on right here. Eso if you're if you're like me and you're a big fan of the people like John Singer Sargent and resort some of those figurative realist painters, this is a great way to get that effect. It gives that impostor effect. Um, but also, what you kind of play around and be a little messy. And that's fine. Like I like, I like that just because you get it's you. You know, you get to put your energy that they're on the canvas. This is actually my preferred method of working. After I solidify a composition, I put some stuff in. I like to come in, do the 1% method and make it look a little more vibrant, at least to my eye. You may like it a little more. I don't know, uh, secure a kind of kind of entwined within itself. And that's a OK, Like I said, golden rule I'm gonna kick back over to But remember what we talked about. Guys, if it looks good, it is good, right? So we're gonna come back over and then I'm gonna play around just a little bit more in photo shop, and then we're gonna kick over the critic, show you how to do that and then paint storm studio the Pain storm Studio one is out of this world. Guys like, genuinely, um and I promise you I'm not sponsored by eating them. I just love I just really do. Oh, yes, you look at that. That dislikes. Oh, I literally called this brush lovely paint because I think this looks awesome. Like, I just love how real it looks like you cannot. You can't tell that it's fake like in the blending that's so cool with it. And like, we're not really doing anything all that crazy. We're just putting paint strokes down. I mean, we're just literally I'm just doing kind of straight lines like dup dup dup. And then it's what it's doing is it's blending all that data information in, and what's really cool about this is you can play with it as long as you like, and it's considered non destructive. So what does that mean? I didn't talk about this last time. The multiply method is also nondestructive. Nondestructive means at any point, I can come in and like either hide this layer and none of our original art got damaged. OK, that's an important thing, because in the gauntlet method, it's very destructive. It's very destructive. So we have that right here. So you can once again, since this is on its own layer, you can hit this up just like with the multiplayer with an eraser. So if you come in and you're like, OK, you know what, That red smudge I kind of liked it, but I sort of liked it more solid across the edges here. I'm just gonna end up erasing some of these. Make this a little. You see, I mean a little more tight around that corner, so you can really see that shape, that silhouette of that apple. So if we come here, I'm gonna hit um, the B button again for the mixer brush. So be we'll actually switch between your regular brushing your mixer brush. This works okay with a regular brush, but anything textured and mixer and painterly is gonna work way better. It's gonna be way less of attic. So let's let's do some of these shadows or year. So if I select this and then I come over here and then I want to smooth this out a little bit and you see how it's taking that data from underneath and yeah, there we go and the data that we have on this layer on the invisible layer and it's just making it, I don't know, it just makes it work. Like to me, this just this. Just work. See that I'm, like, very cool. And you get that cool looking texture pass that blends in Well, you have control over where those paint strokes are very neat. So, like if we if we zoom in So if we come in over here, let me grab that hand tool, which is a cool thing where you can, like, move around what you're zoomed in. So if we, like, come over to the edge of this apple Now look at that. This beautiful looking just blending and I don't know there's something energetic about and like, our highlights that we did over here on this apple. Like those little smudges in the little tiny, this one subtle. This one's less of a kind of in your face, like the multiply layer or the multiply method was This one is one where you're really gonna want to zoom in and be like all man, look at how he did that. Grady int. It doesn't look like a digital Grady of where it goes from one color to another and it looks like a computer processor did it. This looks like someone came in with a brush while the paint was still wet with which is exactly kind of what we did. So this is a very cool look. I really like this. This could almost be a trademark. Look, um, not my trademark by any means. People way better than me. Like, if you want to see people that do this extraordinarily well, look up like Craig Mullins does this remarkably well. Um, Nathan Foulkes does it really well, um Andrew Tischler, if you're into and I know he's a big guy on skill share. Uh, he does amazing oil paintings. He does this type of stuff digitally. You know what I mean? Like, he's very much a part of that. He wants to tell Lucas painterly as possible. So that's what Photoshopped Let's do the same method with Let's do critter. Okay? We have credit right here. So now remember, we're gonna make that same sandwich. So over here, here is our layer. So this is our kind of direct. Later, I'm going to select all. Then I'm going to edit copy. Merged. A vast majority of art programs nowadays have copy. Merged. So let me know in the comments of food Years Dozen, and I kind of dig in and try to figure out what the version of that is. But usually it's called Copy merged. So copy merged, um, and then let's go to edit paste. So once again and you see where it says, like layer five pasted. I'm gonna go. I'm gonna make a brain new layer. I'm gonna drag this blank layer down to the middle. Once again, we make the sandwich. Remember the sandwich. Now, if we come over to the top, most layer bring this down to you guessed it 1%. The 1% method. Do you always type it in? But I'm like, I'm a guy like controlling the mouse and doing that. So we have that right here. Perfect. Right Click. Merge with layer below. You remember in photo shop, it was called emerged down. This one is called emerged with layer below. So you're gonna click it once again? Here we are said Now we have our original layer and then on top of our invisible layer that has all of our data. So I'm gonna come over here and pick this cool smeary basically what? What is this one called? A wet bristle rough brush. And this comes standard with credit. So if you download it for free, you get this brush for free awesome stuff and check this out once again, I'm gonna come in. I am going, Teoh, I'm gonna hold Ault. All seems to be a good shortcut for a lot of these programs to get your color picker. So I'm gonna pick colors that are Let's say I want to blend. Ooh! Okay, cool. Let's say I want to blend where this apples shadow is kind of right here into into this apple shadow. So we kind of make a longer deal. So let me ault and click to get this shadow color, which is almost entirely black. It's not entirely black. I actually try to stay away most of the time unless it's for, in effect, away from pure black and pure white. Because a lot of things on Earth don't have those colors. Um, yeah, yeah, you can get really close, but, like pure white and pure black kind of look fake just because we don't see it all the time , you know? Or at all. Really? Um, so let's get that color. Maybe, you know. Well, let's even get a slightly up here. Cohen. There we go. So now it's still a little bit more read. Um, Now, watch this. This is ridiculous. So we're gonna come over here. We're gonna hit this right here. Now toe blend. More of that. We're going to get some of this color kind of bring it back into here. Do you see how that's happening now? It really softened out the areas between these two, and it really made it look like that wet paint look. And I'm just holding all, sometimes grabbing some of these colors. It's kind of nice. Once you have a lot of colors on your palate because you don't need to come up to your color wheel ever again. You just pick colors that are already on the canvas that makes your piece look more cohesive. So let's okay, once again, let's come over here. I'm actually gonna lower the size once again with my bracket keys. Um, and then I'm gonna kind of bring this over, and you see how it Yeah, you see how it's, like smudge in a little bit And then we can come over it again and kind of blended in, and you see what I mean? It's a really Nate. Smooth, like, buttery, smooth effect. Let's say Okay, this this highlight on this apple's a little crazy. Let's actually tone it down a little by getting this. Read this saturated red. That's right next to it and kind of carving in. You see this and then what you're gonna do. I'm pressing down pretty hard with my pin, which is why it's coming up pretty opaque. But then look, once we start softly coming in and like brushing over it, it starts doing that really cool blend. Look, because we're on that 1% layer that has all the data, but it's really, really transparent. See that? That's that's cool. So you kind of nullify you kind of lesson that crazy look to it. Some people like it. Some people like to really start quite like. But I even selected pretty much all white pressed really hard on the brush, and it still didn't make it all white because it's blending with all of those other colors , and that's what paint does. That's why paint looks so beautiful and so rich because it is blending everything within their on DNA. Now, this is a good way digitally that you have control over that. So if we come back over here, I'm just gonna Yeah, see, And you get some of these right here and then those nice Grady INTs. Oh, so good. I love it. This is like I said, this is my favorite way to work. I love doing this because I've gotten more people asking, like, How do you get such smooth color transitions? And this is it by 100%. This is what I two on pretty much every piece. So now the secret is out and you guys know it. Uh, so let's actually add a little bit of highlight alertness again to the stem because the stem has that same angle. Let's go ahead. Let's bring this in. But you see how it didn't? Yeah. You see how it didn't overkill the blacks and the Browns? It just took them and kind of, like, stretched him out a little bit. I could talk about this stuff all day for, but Okay, so that's incredible. Same technique. You make the sandwich, you do the invisible layer, you take the top. The 1% emergent down. Let's do the same exact thing in paint Storm studio. So once again, pain Storm studio is very much a, uh it's very much worth it. It's only like 20 bucks for 19 bucks. Very, very cool. So once again, we have our set layer right here. We're going to right click. We are going to duplicate the layer. So once again we have. Are we ever duplicate up top? We're going to create a new layer, and we're going to drag it to the middle. Right? We're gonna make our sandwich, then on this top one once again. I don't have Phil, but I do have opacity. I'm gonna bring this opacity all the way down. All these numbers are tiny. Oh, my gosh. Okay, Just take my word for it. Everybody it Zo 516 You know what? I'm actually just gonna click in the thing and type in the number one nominee. Inner. There it is. One point. A shortcut keys, man. Use the digital stuff, if you can. You know what I mean? Eso We're gonna right. Click. It's then we are going to I want to say its transfer to down layer, which is a weird way to say that, but let me see way at it. I'm gonna undo Undoes a great button, by the way. Thanks. I think that does do it. Merge two layers merged lower layers into new 10 I see. Okay, so basically what this is, I want to say it might be merged. Two layers? Yes. So it's called Merge Two layers that see So everything has a version of it, but they might be named differently. So that's part of the fun of digital like click around Newsom's Houston that stuff. So let's actually repeat the same technique that we did on Critter in Paint Storm Studio. So I'm gonna pick my paint roller brush because these are the coolest brushes in the world . I love it. they have instant texture. I don't have to work for it. And it makes me look like a 1,000,000 bucks in anything that I could be lazy and still look awesome. I like it. So I'm gonna cook this one. I'm gonna hold Ault again, and you see how the eyedropper tool comes up. Once again, we're going to select one of these, like, shadow colors. Right? And I'm gonna come in. I'm gonna actually make this a little bigger, so you can really see it, and I'm gonna start bringing in now. This one's a little more intense than the other one, but that's fine. What we can actually do. You could do a number of things. You can either bring the A pass ity of this down, or you can bring the opacity of the brush down so you can go into your program. You can go into the brush settings of your program, be able to do things like that, but we're actually gonna This is kind of ah, sneak peek toe what we're gonna be doing in the Gottman method. But I'm just gonna pick other colors around here, and then let's pick another roller brush Okay, there we go. That's the effect that we wanted. And let's see, another thing to some brushes might work better than others with this method. So this is the one that I was really looking for. So if we come over here and you see how it's getting that nice sort of that nice look to it , we're gonna come over here. We're gonna carve out a little bit. We're gonna grab that when we're gonna carve out, um, once again, we're gonna come over here, gonna carve out a little bit, and it's starting to blend. Yeah, we got that, like, on that corner. There we go. So that's what we're looking for. So once again, we're gonna bring this red up here. We're gonna start doing a little bit around the edges of this highlight to kind of lesson it a little bit. But I look at that blend. That blend is great. Now takes more that cherry, cherry red, that candy apple red, and then go over it again. Really kind of guy makes it seem like that's so, um, some of the darker ones. Let's bring those that form over a little bit the same way with a dark right here. Um, so, yeah, you can just dig in. You know what I mean? Uh, kind of Do what you want to do. Any any changes in shape or form or lighting? You can definitely do in this method. Um, like, right here. I'm actually gonna kind of get rid of that a little bit. Bring this in. But you see how the more I go over, the more it's blending into itself. So that's how you're going to get that beautiful kind of acrylic oil paint or look and let's do the same thing. Let's get that highlight color. Let's come over here once again. That look at that. Um, it's really so I like it. I'm a big fan of this one. And let's really do the whole hog. Let's let's make this big pretty big. Let's pick this color and then go over Who? That That some of your texture right there was that nice texture. Got that right here. You can get that over. Oh, man, that's cool. See, I could do Oh, my gosh. I could do this all day. Look at this. That some of that white right there So now you could even bring in more that would Greenfield. And it's all paintbrushes. You know what I mean? It all has that really cool look to it. Um, and once again, you can just kind of color select in between here, Um, kind of get some of these darker ones. Kind of hit that up over here, Really kind of draw attention to the stuff around here. Then we can lower back and kind of carve away. You see what I mean? Oh, man, look at that. That's so cool. And we'll zoom in on this one as well. And then we will. We will kind of roll around here like, Look at that. Oh, that's cool. I'm telling you, I could do this forever, But I hope this kind of shows you may all look at that. That's so good. Oh, just reminds me a painting on Famous somewhat. I love this technique. I love it. It works so well with all kinds of different. Even some mobile APS infinite painter. Sketchbook has its at all of these. Use this and use that technique and it works wonders. It's so cool. And hopefully it's really gonna bring this compositions that you have to that energetic life of the wet oil on oil kind of the blin d smeary, really cool stuff, but that'll do it for the 1% method. Like I said, I do have a cheat sheet on skill share. Feel free to download. It will review it again real quick. I'll go rolled down the steps so you create the merge slash copied duplicate work so you'll create it merged later. Then you'll paste a duplicate of that layer. Then you're gonna make a new layer, put it in the middle, then that top layer you're gonna bring down the 1% and then merge it down. So that way you're left with two layers your base layer and then the invisible quote unquote layer that has all your data on it. And that's the later you're gonna do all your smudges on your paintbrush e stuff. And it's really going to do some nice blending on there. And once again, you can always use. You can always use things like the the capacity tool. So if it's a little too outrageous like perfect example, if we're in here, um, let me get back over the mainstream there, Um, so whenever we're like right here, let's say this is a little overkill, like it looks cool, but we don't like it as much. You can always bring the opacity of that layer down. You see that? How it's just kind of faded out, so it's really subtle. Once again, you're the artist. These tools are great and everything, but you are the artist. And like I said, the golden rule. If it looks good, it is good. That's the number one thing to remember with this. But I hope you had fun. We do have the cheat sheet there. We do have this apple picture, and we have some of those Photoshopped brushes. They also working, procreate, credit things like that. So if you want those brushes to be able to really play around with them, absolutely go for it. I hope you learned a lot on this one. I am going to see you in Part three. The gauntlet method. Get your get some good snacks and could bring food like yogurt, Greek yogurt or some high protein. Because I'm about to blow your mind. It's a totally different way about thinking about digital work. It's kind of scary. It's by far and away the most simple, and it's also the hardest. No, it doesn't make sense. It will join me here on this next lesson. It's just gonna be more of a pep talk, a walk through and I kind of show you what I mean. But until then, guys have so much fun with 1% method. It's my personal favorite. I use it on pretty much every one of my pieces. I hope you get a lot out of it. I hope you learn some new stuff or saw some stuff. They really caught your eye and call your interests. But definitely let me know in the discussion board. Hit me up on the social media and email me. You go west. We Gardner dot com You can email me directly from a contact list, all that good stuff, but yet, until next time, get ready, get mentally who get pumped up pumps. Meyer. Whatever you gotta do for that garland method, because man is coming, it's coming quick, and I was super super excited for it, but we will see you real soon. Take care 4. The Gauntlet Method and Course Outro: Hello. Hello. Welcome to the final lesson. While I got a really squeaky chair. Welcome to the final lesson in the traditional looks for digital painting course. I hope you're having a great time. I love having the in class. Uh, yeah. I can't wait to see what you're making with all of these things. And, like the multiply layer, the 1% layer. We looked at him. We studied them. We figured out the nuances of him. But now I think you're ready. I think you've passed that threshold. You have now come so far, grasshopper, that you are ready for the gauntlet method. So a gauntlet method is you can take things to finish with this for sure it will take longer. Um, it is a much more direct and simple method, and it's way more difficult. Okay, so that one, that's, like, sound of one hand clapping type thing. Like if you start putting your mind around, start really like digging into this. So what we've learned so far is using digital art applications to do things like like blending modes and layers and using some of that arithmetic and kind of that programming number crunching to help us out. What the gauntlet method is is this idea of And don't worry, we'll look at the cheat sheet. We'll look at all that minute and I'll do a quick demo. Very quick demo. Um, all those digital tools to help you. What if you didn't use any of them? So all this stuff about, oh, you use the layers and even duplicating, even merge. And you can bet and you can black, not with the gauntlet method. So what is the gauntlet method? A drumroll, please. The gauntlet method. The rules of the gauntlet. You are only allowed to have one layer. You are not allowed to use the undo button. You are not allowed any effects meaning multiply drop shadows glows. None of you are allowed to use any brush in any color tools at your disposal. So the a pass ity of a brush not of the layer, cause there's only one layer but of a brush. Sure, you can lower it. You can do that type of stuff you are allowed to paint over, but you are not allowed to erase. So once you put something down on the canvas, it stays there. You can paint over it with a different color or a different brush, but it has to stay there. There's no one do. There's no erasing every brush. Stroke counts. Can you handle the gauntlet? Like I said, way very basic, Very basic. You have one layer, you have your colors, you have your paintbrush. What better way to make your painting your digital painting look traditional? Been painting it right? There's a crazy idea, but needless to say, I won't Joe the brand. But I have some liquid courage here. Let's put it that way. Actually, I've used this method probably 40 or 50 times. I use it as a mailing method, first and foremost to get a good concept idea down before I started and go into a final for a client. Let's say which I'm actually doing right now. I use this method directly. There is one more piece of thing. It's totally free that I want to show you because I will be using it. I haven't talked a lot about it, but reference is critical, especially when you're doing the government method. You need to know what you're going to paint. You have to see it So what we're gonna do here today for my demonstration we actually found on pixels dot com, which is great royalty Free website. Be sure to give credit where credit's due. If you do make a piece using that, maybe don't put it in your portfolio. But maybe just a Hey, I did a photograph study. Here's where I got the photograph. It's nice to give that love back to the photographers world, all digital artists and artists here, so it's good to give credit where it's due. Soap Exel's dot com has some great stuff, amazing photographs, especially to study from, So we're gonna be using one of those. But I'm also going to be using a program called Pure Ref. P U R E R E f. So I'm actually gonna kick over to the main screen. What this is is this is a way to have your reference photos, always on top of whatever program you have. So that way, like you see right here, basically you can drag and drop pictures. You can drag and drop them from your desktop. You can drag and drop him even from a Web browser directly. You don't even have to save the picture. You can just drag it over in a pure ref and it'll open it. So this is what we're gonna use? Yeah, It's always where you need it. You could make it be always on top. You can resize the window, spin it, turn it It even has some really cool things. Let me actually just open it up and show you. But yeah. Pure ref dot com If you get pure if, look, it works on Windows, Mac and Lennix. It's incredible. This is a game changer. So I just want to show you guys that toe let you know that I will be using it. So I'm gonna double click my pure ref icon right here. There's nothing here. Dropped some images to get started. I'm holding the right mouse button to move the window around, but I'm gonna get justice. Basic picture, um, of an apple. Now it came in really, really big came in at the standard size of what it normally is. But I double clicked it and it fit it to the dimensions I have of my window for here. But you can always drag like if you want to do this, you can drag it here. Double click it. You see how it re sizes and re scales? I would say play around with pure if it has a lot of cool shortcuts. But my favorite two things about this one. I'm a big fan of values. I know. I discussed values a little bit. If you right click here you go to, uh, well, one. The mode is always on top, which means now that it's always on top, I can bring up Web browsers. Aiken, bring up my paint stuff and see this is always locked in. You see what I'm saying? So it's nice because I can literally, and what I'm gonna do right now is resize it toe where it's right above where my canvases. And by the way, for this I will be using Paint Storm studio just because I love the way it gives me that look really quickly. But you can do this. And Photoshopped critics sketchbook, art, rage. Whatever you have, this is a great exercise, and I emphasize the word exercise. Like I said, you can make finished work with this, but I view this is more of like get out of your own head. Just throw paint around on the canvas, make it look energetic. You're gonna have to make decisions. You're gonna have toe paint over those decisions so you can't erase. You can't have new layers. You're just gonna have to paint, blend it, make it look as good as you can. There's no world time limit, necessarily. But for this image that we're gonna do, I'm just gonna do a quick painting of this. Just you can see the thought process while I narrow it. Okay. Um, so what will do? Uh, let's see. What was he? Everything. I thought I was going to say something. Anyway, we're gonna do this real quick. There's no way to really like, um, select the colors color selection. I do that sometimes, but I'm just gonna eyeball it. Oh, I know what the everything was. Speaking of colors we talked about value value is how black or white something is. You know how light or darkness? Something in a shadow or in the light? One cool thing about pure ref here, let me minimize this. So it's not as confusing looking, Mrs Well, So this is my desktop. I'm gonna right click. And if I go to, uh, let's see. Where is it at? Is it under? Move me, James. Where is it that they move it? I just downloaded the brain new version. Um, here we go. So under canvas, go ahead and click on gray scale. It automatically converts whatever images, whatever stuff you have in here, toe black and white, you're going to see the lightness, the darkness, how those brights and how those lights and darks kind of play around with each other. So this is gonna be really, really helpful for us. Okay, um, because I'm a big fan of value, so I'm actually going to refer back to this. I'm gonna come back to canvass oven unclipped gray scale, but it's still always on top. Right? Click to move this up. Now let's start painting. This is it. There's one later. There's no one do. There's no erasing. Let's see what happens. So I'm going to just break up The kid Looks like the canvases kind of cut in half, you know? So now you have to think like a painter. Where's the light source? What's light? What's dark? What's the shapes? What What are we doing? So what I'm basically gonna do is I'm gonna get kind of ah, thicker red. And like I said, you can use anything on the color wheel. You can kind of move any of these sliders around. Kind of whatever you need, but just No, you can't do any, like, special effects type stuff. So we're gonna come right here. I'm just going to come in and I'm gonna put this down. No. Like I said, this is gonna be very, very fast. It's gonna be very, very loose. But what this is gonna give us is a look of a painting, because guess what? It is a painting. Um, so basically, right now all that I'm doing now, let's come over to a little bit of the brown, get sort of the gray I am blocking in my main ideas. Um, so this is kind of just insight of a painter, as it were. Right. So we have this. We have this actually could probably bring that red down on. Another thing you can use is actually gonna be color pictures. You know how we talked about holding down the hold button? Who got that bright red right there. But see, there's no one dues, everything, even if it looks wrong right now. That's fine. Let's bring the shape back down. Let's do that. Let's bring this down. Kind of a darker red. I'm gonna lower my brush. So once again, any of the options and stuff in your brushes those air good to go. So those air those air pretty good. And this is actually kind of a darker spot right over here. So I'm gonna come and just sculpt this away right here. Mess with that, bring it even darker, because right down here, it gets pretty dark, you know? And then kind of that straight line right here. So you start seeing patterns, you start seeing thes type of things. So we just selected kind of a brown. We're still gonna come in. We're gonna block this stuff in once again, not rocket science. It's not super clean. It's not super pretty yet, But that's where we get to come and do some sculpting. We dio the shape language. We do the reforms or is our light source. So we're going to do that. That's why value comes into play pretty pretty quickly and very, very regularly. So, like, yeah, this shape is completely not what it needs to be. So if we just come back here and, like, just kind of, like flatten that out, I think. But look up here. It's more of that. Really. Like I say, I don't pick super, super bright, um, super like white or super black. So I'm just going to do here kind of a green, you know, it's way darker, so the values air matching. But this is just what we're gonna do here and now. This is where I can sort of come in and start carving away some of these shapes, right? But this is supposed to be kind of a freeing exercise, and I know it can be very stressful. It can be very stressed. Who knew that like not using any of the digital tools would be really super stressful? But it is. It totally is, and I get it so. But this is why this is such a fun exercise to do is like, see that see? And it's a little dark, but it's no problem, especially if we want to come in, and it kind of blend some of this stuff out. Maybe if that a little bit. Maybe bring it a little bit lighter. Yeah, um, a little bit lighter, Kind of smooth those over smooth those in Because that way, whenever you have that nice candy apple red, it's really gonna pop out So you can even see here Now the shapes air starting to make a little more sense. And it's fine if you're gonna paint over stuff. Don't be worried about. I mean, don't be worried. What's the old saying? Kill your darlings Tepe thing. So I'm gonna bring this down a little bit. So here's the really bright kind of saturation its white. But it's just a lighter version. The color we already have, right? So then I'm gonna kind of drag those down because it seems like those air the I was right there. Um And you see, this is super fast. We're gonna pick that color again. I like that color because I think it's gonna work. Well, um, get right here. See this little more grey than I wanted, But what's cool is you see how it's like blending in with stuff. That's why I love using the paintbrush tools and things like that on, uh, these digital art programs. It's because we'll do a lot of the hard work for you. We'll do a lot of the hard work for you, actually, eso we're gonna come back down here and you see how we're just playing around. It's not stressful. It can be like I said, but it's really not. I'm just gonna come back in, bring that shadow back in. Um, something kind of ugly. But that's fine. Ugly painting means you're closer to a prettier pain. Eso We're going to practice highly saturated red, and then we're gonna start hidden some of this right here. It looks like there's a little bit of orange and yellow as well that we can look at. Um, so we're gonna bring this over some of those warm tones, and we're gonna try to just Sprinkle some of those in there so you can see how this is starting to come together. It's not the prettiest thing in the world, but what it is doing is it's kind of opening your idea in your mind up to being like, Oh, maybe these things don't have to look picture perfect, right? at first. Maybe I just need to work on my design sense, My shape, language, Um, make these things happen. So you see, it looks really blocking right now. Yeah, um, let me come over here. So I just use the one brush. I haven't even used any of my other brushes yet. But what you're going to see is, once you kind of get into the softer brushes, it starts really coming to life and really be cool. So this is actually a lighter version. So what I'm gonna do, I'm going to pick this red. There's Here's a cool technique, by the way, for values. I'm gonna pick this red in this orange because I know that's about where the brightness is . I'm gonna select that brown so we see where it is, and I'm gonna lighten this up around here, see what I mean? So we're gonna bring that back over in our value, Still don't quite match, but once again, that's fine. We're gonna hit some green. We're gonna bring the green in and kind of throwing some of that green just to kind of, you know, brightened itself a little bit. And you see how it's kind of mixing with the greys. It's kind of doing things like that. This is why I like coming in. And let's actually select that red again, and you can see how it's starting to mimic what we're looking at. So now let's get some great. Let's get a different room. Let's do an actual, like, softer mixer brush. Um, and once again, this is with paint Storm studio. I really like paint storm just because it gives me a lot of options. Um, so we have this right here once again, I could make this a little lower and transparency, but I sort of like this, you know, mix serie sort of look that it has. Um, And then if I come over here Yeah, see, that's kind of what we're looking for. So something like this can occur about that shape. Come over here. So this is the gauntlet method. Um, it's something that you get better at it, the more you do it. Um, but that's where you really start learning what your tools are and like, what's gonna get you good looks, um, with not a ton of effort. So, as you see, we're still coming through. We're still doing some of this stuff. Um, I don't want to make this a super long episode, because the other lessons ran a little bit longer than I thought they would, but I want to make sure that we had good material there. So let's do that. So now let's go over to just are standard brush. And this is where draw blend is where we're really going to start. Kind of carving out shapes. OK, so we kind of have this over here. We're gonna bring this back. Then we're gonna get this darker right here. We're gonna bring this back. But, I mean, now is where we start getting more refined. Now is where we start doing this shape language. This is actually gonna be quite a bit darker. So I'm gonna come back in with my a random texture brush and start Harvin around here because we really want that. Um, here we go. Let's also do flat brush, like so That's the one. Yes. Okay, so now we want a dark in those values up here. So these air like following along with the Bob Ross, right? So that you see how it's starting to really start to get that personality and things like that. So let's actually come down here, lower this brush, Um, get this red and then just start mixing in some of this stuff. See, year we go. So it's all about making your shapes basic. I know this is turning more into, like, a general painting tutorial, but that's the beauty of having to the traditional looks in digital media. You can mimic your traditional workflow pretty accurately in a way that makes sense is easy to follow along with. And it just takes some of the headache out of like, Oh, what I do with all these layers and all these, you know, whatever. Um, I know that's a big thing that a lot of people construct all with. Is that sense of like, Oh, no, I'm weighing over my head. Um, I don't know anything about computers. I don't know anything about this digital art stuff. I don't know if I'm gonna be good at it. I don't know what the deal is. Um, this just goes to show that you don't really necessarily need all those fancy blending effects and all that type of stuff you can make something that looks pretty cool, Um, quickly and without a lot of hassle, that looks like a really, really bright orangey. Um, er, I should say, saturated, orangey red color. Um, toe where this comes over. Yeah. Come like that? Um, and then yes. So, really, my thing is, my values are a little off, but that's fine, because once again, this is a great thing for work shopping. This is a fantastic thing for, um, making sure that you have a decent composition. Um, once again, we can actually come in and blend that right there. Um, blend some of these right here, and then let's actually get a full on. Want to say a little bit of that purple? Let's do some of this. Um, what breast we want do we want Let's do this mixer. Brush some of that bright kind of purple lee stuff. It's around there. Now. I will come to complete white because it's gonna blend in pretty well. Um, what kind of blend in there? I will lower this down. So it's really about looking at those shapes. You know what I mean? So we have this If this coming back over this coming back over so you can start seeing it starts making more sense. Like I said, this is definitely one of those things. And then if I want to come in and do like a smudge, if I want to do, like a simple blender Um, since it's all on one layer, I can just come in here on day. I want to do, like, a soft blender. Um, I can come in here and start fading out. Since this is kind of out of focus. If you're using a blender, that can get you a great kind of out of focus. Look, can you see what I mean? Now that Apple is becoming more of the star of the show like it is in the main picture, Um, have some of this Good deal s. Oh, yeah, basically, what I really need to do. I need to get my darker reds. I need to come in here on my brush, and I need to do what is it? Flat brush direction? I believe so. Once again, um, come in here, really start darkening some of this cause you want to make sure that your values match values are a very important thing. I'm actually going dark Me even more. We're gonna start coming like this. Yeah. Yeah, There we go. Now it's starting to take that shape and look as if it is that spherical deal right there. So we're gonna hit this again. We're gonna hit that again. Gonna come back over here with some of these start blending. So you're gonna notice that I use a lot of the same type of, like, 1% techniques, but I use them pretty standard Li like the cool thing is, let's say you know these, like, little speckle areas right here. If we have something like the ease will come over here, I actually need a bright white, because I see. Yeah, I see that sort of blend right there. Um, get some of those you want need air. We go smear some of that together. Um, some of these speckles. It's great, because then you can just come put some dots and you start emulating that texture. Um So like I said, this is almost like a Bob Rossi episode almost. But I want to just show you that we even though we learned a lot of like, really hard core techniques and things like that. You don't need to use them all the time. If you want to get that nice painterly look, it's actually not required. It's not necessary. Um, and this is a great way just to study. So, um, we also have these highlights right here. So if we want to step, win some of these dots, bring these dots down that little texture of the skin on an apple, this is a great way to train your eye, but also help you out with different forms of rendering. Okay. Like I said, we're like, 24 minutes. And so yeah, this is just a really quick study. Um, nothing. Nothing too crazy. Let's actually get that. Let's do a little bit closer to yellow. Yes. Yes. OK, so we'll do some of those and bring those in as faras texture. And then it looks like there's also some little lines and stuff like that. So now you see what I mean. It's starting to really look like a thing. Um and this is without blending. Modes of this is without any of that stuff were just selecting brushes, changing the size. Um, and you can use this on any of your digital art programs, and you start getting some really awesome result. Really, really cool result. Um, so we're gonna come back over here, I'm going to sharpened Nats. We're gonna sharpen this. So now we're getting near kind of the end of the study. I just wanted to show you what the gauntlet method is all about. It's a great way to kind of do some problem solving. Um, kind of look around, see the world, all that fun stuff. But it's also a great way to train your eye and learn what your brushes do together in sync with each other. Um And then let's say we wanted that white because that white is right down here. So this is where we start noticing details slightly out of focus. That's fine. Then we can do some of that stippled effect with White right down here, it's a little more grey than it is brown. But I think we'll just keep the brown for that for the time being. Just just kind of circle a bunch of this stuff in here just to show a little bit of something almost like the camera lens is going out of focus within our piece, which is it looks like it is tilt shifted, which is a cool camera effect. So something like this on and then what we'll do to kind of really polish this off. See, the apple looks kind of smudging and things like that. So if we want to come in with a full on brush and do like some hard edges to really differentiate where the apple is compared, Teoh where the rest of this stuff is, you just get a harder rapacity brush with a harder edge. Um, and then you would actually just come in and, like, carve out you see what I mean? Just kind of carve out that idea. Um, these we have that and then boom, there we go. So you start getting a little more in depth with some of these harder brushes, and it gives you some cool variants in that line, and it draws your eye, your eyes always going to go to a sharper image. Same thing over here let's actually sharpen this up is it looks like the shape is the thing that really defines that apple So let's go in. We're gonna sharpen. We're gonna sharpen that into their shipping these into here. But overall, I hope you're getting the gist of what the gauntlet method is all about. It's you just paint. You just picked up a paintbrush. You start painting, man. It doesn't get any better than that. It doesn't get easier than that. Something just really fun. Really cool to play around with. Like I said, it trained your eye. You get to do a lot of fun things, and this works with every type of thing you ever want to study. So if you're doing anatomy studies, fruit studies still lifes, you see a cool photo. Like I said before, always either ask permission or make sure you get royalty free photos. And be sure to give credit where credit is due. Because I know I've run into stuff to where people have uncredited my work and I got bummed out. Um, so don't be a bummer, you know, be be cool, cool gal or cool guy, because I know you are, And that will do it for me. Like I said, I could do this forever. I can paint like this rare, but yeah. So hopefully you saw something you liked as part of that Gottman method. But remember, Well, is, um let me bring over the, uh Okay, there s o, remember, for the for the gauntlet method, you can only use one later. There's no undo function. There are no effects. You are allowed to use any brush in any color tools at your disposal. You are allowed to paint over something, but you are not allowed to erase it in every brush. Stroke counts. Uh, can you handle the gauntlet? Well, here's the thing. I know you can. I know you made it this far you've watched along. I'll probably put this reference photo up there as well. That way, if you want to do the same exact study alongside me, go ahead. Trust me, you don't need to be a fast. It looks sloppy, but it has the general idea. So if you were to send that idea to a client Billy. Hey, what about something like this? They probably say Okay, you know what I mean. Oh, I know where that's going. You can also do it black and white. I do recommend working in black and white. If you try to go the method first simply because it's, uh, it's easier, it's easier to smudge. It's easier to kind of do all that type of stuff, but just one layer. No one do be confident in what you're doing. Go for it. Even if it's wrong, you're the artist. You can fix it. You are in control of it. But I hope you had a great time during this course. I hope one of these three methods, if not all of them, gave you something that you can really kind of clean on to take with your own work. Whether that's graphic design or like illustration. No matter if you're training, realist approach or something more animated, more like manga on a May something you know, just be you just create what you love to create. Hopefully, these methods showed you a little something. I love the gauntlet method. If you don't know what to draw or don't know what the pain are, kind of what to work on or just a practice. Find you a cool photo. Just try to paint it on one layer. Do your best. It's a great exercise. Get your dexterity up trained your I a lot of cool things. So, like I said, by far the easiest method because there's nothing. There's no real steps. It's just, like opened the thing and paint it. But it's also by far the most difficult by far and away the most difficult, because that's the heavy lifting. That's where your anatomy, your perspective, your form, your your lime control, your contrasts, your your composition. All of that comes into play is there's no take backs, man. Once something's on that on that canvas, it's on there. It's like Go paint with watercolor for acrylics and tell me how long you have to get that paint off of there. You have maybe two minutes. Oils are a little more forgiving, but acrylics and watercolor the moment it's on that canvas. Good luck getting enough. So this is a great kind of fixture of that. But once again, golden rule is if it looks good. It is good. Thank you so much for taking the course. Let me know which thing, and I will see you on skill share. Thanks. And go have fun. Go paint. I cannot wait to see it. Digger 5. BONUS: Supplies, Resources, and References: a class. Welcome. Hope you're doing well. Thank you so much for watching the first of two bonus videos. Now, if you've watched the introduction, you already saw my list of recommendations and everything like that. But what I want to do is actually make a little bit longer of a video to kind of dig into some of those recommendations. So I can kind of go a little bit deeper that way. It my answer, some of the questions you guys might have. But overall, let's just hop over. I'm kind of going to do a big screen of my desktop over on here on my third monitor, and then I'm gonna have my little my little guy down here. I'm gonna be right down there along the way. So we're gonna kick over to that and 123 eso yet. Hey, So what I'm gonna do is I'm actually going to go through a list of recommendations that I have, and hopefully this will answer any of those questions before we get started. And I am gonna talk about this during every one of the main courses. There is only one golden rule to this entire course. in any of my skill share courses. Okay? Or wherever you've seen me. If you see me on YouTube or just anywhere that I'm teaching, one main rule always applies, and I call it the Golden Rule. It is the one thing that you should always take away from any of these lessons, no matter what. And it is basically, if it looks good, it is good. All right. So what does that mean? It means you can learn about all this stuff and see all this stuff. But if you make art digitally traditionally, whatever. And you like how it looks and it did not use any of the stuff I recommend or any of my methods. That's fine. Imagine how boring life would be if everybody had the same thing, right? Anyway, enough that I just want to get that That's always the Golden rule for me. So let's get to it. So I recommended something such as an art cabinet, something a digital mechanism, basically that you can emulate drawing on on like my cell phone. I have a note 10 cell phone that actually comes in here with me. Do this actually comes with a pin inside of Ellen off that you? There you go. It comes with a pin, right? So that's why I actually bought this phone, because I like doing art everywhere cause I'm a big nerd. But any device that lets you draw on it, whether it's a tablet or or like, I have a pin tablet, a big 22 inch monitor here that I can draw on using my pins and stuff. But you don't need that. And that's kind of what I wanted to talk about here. So let's kick over here. A name you're going to hear a lot is wack, um, or Wycombe or however you pronounce it. But what they do is these air kind of the originators of the drawing tablets. So you have basic drawing tablets that you draw almost like on a sketchbook. You look up the monitor and you can see what's happening, which is how, actually did my art for five or six years on. I recommend it. I can go back and forth between the touch screen and a desk mount are, uh, drawing tablet desktop during tablet very quickly now. They also have pen tablets. They have the full on pin computers if you're into that very cool stuff, but something I wanna point out what come is not cheap. They if you look at some of these prices like the cheapest thing they offer is about 60 bucks, which is not bad. But whenever you start getting into the realm of just for the basic drawing tablets you're looking at 3 78 Um, now you're getting into the visual stuff. You look at a I mean collie. He had $3300. No way am I gonna make you spend $3300 to take this course. You know what I'm saying? Even God, even a pen of 75 bucks Now don't get me wrong. Welcome is the best in the business. Like going from going from like a more cost effective option to allow come. You will notice the difference immediately. There's a lot of very technical nuance there to it that now do. I think it's necessarily worth 3500 bucks. That's for that's another discussion. But what I want to show you is affordable options that really dig in and give you 99% of that functionality for, like Oh, my God. 1/100 of the cost. Okay, so the first company I want to bring up is called X P hyphen pin. So you see right here, XP pen. They have an incredible selection. Very, very good. I've used them before. That's not what I use here, but I have used them before. Love it, love. It just feels great. A lot of great reviews as well. So you're talking about Oh, OK. A 15.6 inch drawing tablet. If we were to look at that for, um, Let's see. Okay, so, yeah, something similar? Um, graphic tablet with wink. Plus, you're looking at some of the stands and things like that. This is $1500. This one right here, 400. Pretty big difference, but also they even have your basic drawing. Tablets is lowest $30. So if you're looking to want to get into this, you've never used a tablet before. Please don't spend a ton of money. Please don't. It's a thing you have to get used to. You have to get a custom to now I will say, Usually the more money you spend, usually the better the results. But I've used this exact 29 99 looking out of 1000 reviews for half stars. I mean, that's a lot of very happy people, you know what I mean? The company that I use eso, this is XP pen. So the company I use is named Huey on and I believe both XP Pan and Huey on our Korean companies, but I can show you exactly what I've used so primarily. I used that Huey on H 6 10 pro or the be a pro. Version 2 49 99 for a huge I'm talking. This is a full on this. This things like your let me for for optimum effect with me. Look here, the things seriously like that big. Like I have to clear off space on my desk to set it down. And I used it for, like, five years. Right? So that's why 50 bucks, That's not bad. The one that I have now is actually this one. The GT 1913 49. It's a touch screen. It's 20 inches. Actually. It says 19.5 actually measured. It is exactly 20. And, uh, yeah, 3 49 I love it. man. It's so good. Eso there is the hardware side of it if you have an iPad, even better, you got what you need. Kindles, depending on the type of kindle you got, what you need. Cell phones. If your phone as it has some sort of pin attachment, Um, or even if it has somewhat third party pin that you can buy, you're you're a You're a year old set. So that's it on the hardware side. Now I want to jump to the software side, which is actually what I got the most questions about in kind of the preliminary soft open of this course, and I will be using photo shop. So a photo shops the industry standard. It is what it is. It's been around forever, and it's the industry standard for a reason. The desktop version of it. Whether you're using it on Windows or Macintosh, you can't really beat it. I mean, there's a lot of very similar things, and we'll talk about those in a minute. But the only kind of quote unquote negative with photo shop is the price. It's just costly. They have lowered the price a lot. I remember in college Every year I have to get the new version of photo Shop, and that's back whenever it was like 16 to 17 $1700 a pop. Golly breaks the bank, man, but now they have what's called Adobe has what's called the creative cloud where you subscribe and I want to say the basic option toe where you get Let me look down here. Yes, so photography option, which comes with photo shop and also comes with light room, which is pretty cool. It's a great way toe take out red eye and kind of the basics for your photography. 9 99 a month, which you know not terrible but honest to God. If it were me, if my 9 99 a month was either going for, like Netflix and who Lou or photo shop, I'd probably pick Netflix and who I love movies. What can I say? But just to know that you do have some options, it's definitely viable. This is the industry standard. If you start working at a studio, you will use photo shop guaranteed. However, my course you're not required to have this, so I want to show you two paid options that are less money one time fees once you buy it once, you never got to buy it again unless you wanna upgrade to the next versions and all that stuff. But I highly recommend them. The 1st 1 is art rage. Art Rage is kind of my bread and butter. This is the closest I have ever seen to painting on a real canvas with a real paintbrush in a digital realm like honest to God. If you get art rage and they have two versions, they have art raging. Outrage light. If you get art rage, you don't even need my course. This will make it look like a painting like it's genius. It is absolutely fantastic. You just gotta outrage dot com Read up on it. I brought some stuff here, but you can see how it's kind of like layering that paint. Look at all the strokes and beautiful references and professionals use it. I mean, love it. It's $79. I will say this is the best $79 I've ever spent. Take that for what you want, like but for real, I will never not have a virgin of our rage. on my device. I have it on my phone. I spend the next for 10 bucks to get it on my phone. I want it with me all the time because it feels like I'm painting on a canvas. Uh, and then art rage light is going toe have similar options, but you don't have the customization of brushes. They have a ton of brushes anyway, so you don't even need to customize them. But, uh, yeah, it gives you all kind of upgrade options and things like that. But basically, you can make traditional looking paintings, beautiful paintings and client work that you can sell because I've done it with art rage light. I've done it. I actually made paintings for people that they bought using this program, and this one is just 30 bucks and it gives you a discount code if you want to go to the real one or that the real one, that the full version, I should say there is 30 bucks. Not bad. If you want something like this, pretty much just a good has a lot of the same features, but even less money. There's something called paint storm studio love this it's $19. I was gonna say 20 but that's not true. It's $19 even flat, Um, sales tax might apply to you or what have you. But paint storm is fantastic. And as traditional feel to it, it's my runner up. Like between art rage and paint Storm studio. I would give our trades the slight benefit, but paint storms not far behind. Man Desert island stuff. Give me either one and I will be happy, happy, happy. But yet look, it comes on Windows. Mac os Lennix even get for the iPad which absolutely, um, go for there. But let's say you're really on a budget. Um, you really want to get into? Uh, yeah, You really want to get into digital art? But you're like, you know, I just don't I just don't even know the first thing about it. I don't even know what I'm doing. There are amazing free options, completely free options. So and all of these, by the way you can use with a keyboard and mouse. You don't need a tablet. I just recommend it because actually drawing on something, it's less separation between you and what your idea is because a mouse could be kind of if he you know. But there are some free art programs that I highly recommend. I did talk about them in the interim, but I want to show them to you. Um, and these will be critter. Um Critica is absolutely free. It works on Windows, clinics and Mac. This thing's a game changer. Like if if blender change the game for three D modeling. And like because I've worked with Blender before, I've worked with studios. I've worked with Blender. They say it changed the game because it's easy to use easy to pick up. It's easy to learn, but it has a lot of the vital functionality that you need in a three D program. I would say the same thing for credit credit completely free. They've never charged that dimed anybody. It runs off a donations. It's open. Source has beautiful brushes already. You can import Photoshopped brushes, tons of stuff you can do on this. And yet, once again, I've made client work with. This is Well before I actually was able to afford my creative cloud subscription. This is what I used credit. Was it, um, loved it? It's uh, I can't think of much. It doesn't have some of the tools that Aaron development other Softwares that you pay a lot more money for have but free. Come on now, keep those expectations in check. But seriously, I could make I could make my living just using credit. Don't think because it's free. It's a lesser van. No, no, no. It's all about how you use the tools. That's what this course is about. The next one. Auto desk sketchbook. As of last year, they made the whole thing free and all. Man, I love it. I love sketchbook. It's so much fun. It's less painterly, like it has good painting brushes that has great layering styles and things like that. But this is more illustration. Comics slash uh well, I mean, auto desk. I think they made, like, cad like architecture software. So it's great to draw Has great stuff. It has great resource. Is Trinka Nubia Great YouTube guy talks very highly of it. And for good reason. Completely free. Works on your phones. Works on tablets. Oh, yeah. Windows, Lennix, smack all that good stuff. Um, and then the only other thing I'm gonna bring up. So those are the two free options. Either sketchbook or critter Highly recommended. The next thing I want to bring up, a lot of people be like, Great. I got a tablet. I got my program. But now I What do I What do I use for this course? So I just make something and bring it in? Do I? Do I take a picture like, how are we going to do this? What I recommend in what I will be using throughout this course is a free royalty free mega pack by Noah and Rachel Bradley. And I love those guys to death. They've done art for, like, wizards of the Coast Magic, the gathering Dungeons and dragons, their remarkable artists. Incredible. Please go follow him on whatever social media you've got because they are great and they run a website called reference dot pictures. So on reference stop pictures. They have a free cab. Go here and get this mega pack. I will be using this in our course on and Plus you can use this for whatever you want. The free picture mega pack reference pictures for creators. Look at this. All 18 gigs, 18 gigs huge of my travel reference. All for free. Use it for personal and commercial projects with zero attribution that you can't I could say this coming from that side of the house. You do not see this ever on 18 gig photo pack did. You don't have to give credit. What are they crazy? And the answer is yes. And the most lovingly. The photos are all full resolution from a Cameron feature. Landscapes, architecture, wildlife, skies and more. Look at this Bucharest in London, Australia, New Zealand, American Southwest Switzerland, Iceland, Yosemite England, France at some caves, Scotland. Look at these. Look at these. You don't even need to make this a pain. You just print this out and put it on your wall. These are gorgeous, and you don't have to. You have to pay a dime. 18 gigs. That is thousands of pictures. But this is what we will be using. And on my next bonus video, where we're going to do a live painting together, that one might be an hour, hour and 1/2 long. So get ready, get some stacks, get ready for that one at the end of the course. But what we're gonna do is we're gonna use one of these. We're gonna use it as a reference We're gonna try toe put all of the gauntlet in the 1% in the multiply method into use. Make a study of one of these beautiful photos, but I highly recommend it once again. That is reference dot pictures and then slash free. But if you got a reference that pictures, actually, when we do that real quick, just go to the main website, referenced up pictures. You're gonna see the free mega pack Here they have sample packs, fantasy bundles, expressions, figure drawing. I mean, great stuff, great stuff, especially for nerdy fantasy artists like myself. But I hope you found something valuable in here. I hope I answered a few of your questions. If not, let me know in the comments. If you have something like, Hey, I have procreate one. I'm jealous cause I don't have my iPad. I won't pro create. It looks great, but there's also stuff like infinite painter. Awesome. Let's see what a few minor. Um I actually look at it right here. There's probably gonna come up reversed on camera, but let me So I have? Yeah, like I have, like, auto desk sketchbook. Yeah, Out a sketchbook art flow Art Rage painter, which is infinite painter. And then a cool reference tool called handy. It's like two or $3 but it's great because I am able to dio, like, get a reference and then spin it around and manipulated. Anyway. That's a whole other thing. Let's get started with the course. Yeah, I hope the year you're excited about I'm very excited to be doing this with you to kind of show you some cool tips and tricks. But any point, let me know. Hit me up on social media. If you have any questions, concerns any things like that, I'm I'm definitely here for you. What, you have the most fun possible. Definitely get something out of the course. But without further ado, Thanks for watching the bonus video. Um, let's get started making some rock star art. Alright, guys, take care. We'll see a real soon