Understanding and Painting Tonal Values : Jack O Lanterns in PS! | Stephanie Chewy | Skillshare

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Understanding and Painting Tonal Values : Jack O Lanterns in PS!

teacher avatar Stephanie Chewy, Animator // Character Design

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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

8 Lessons (54m)
    • 1. Pt01 Introduction and Overview

      1:29
    • 2. PT02 Understanding Tonal Values

      3:03
    • 3. PT03 Creating our Document and Importing Brushes

      4:04
    • 4. PT04 Setting up Our Reference Map

      1:27
    • 5. PT05 Silhouette and Sketching

      4:20
    • 6. PT06 Lining

      9:45
    • 7. PT07 Painting

      23:04
    • 8. PT08 Adding Accesories and Finishing Up

      7:04
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About This Class

Hey everyone! It’s that time of the month again....

.....

...

Scary month!

In wake of this month I propose we get on down to drawing and painting some creepy but cute jack o lanterns in Photoshop, using some basic fundamentals of tonal values. It’s a wonderful exercise for artists of beginner to intermediate level (preferably a bit more experience in Photoshop), where we can practice a few things we’ve learned in my previous videos, and more! We’re going to sketch out and line our Jack o Lantern, then do a quick analysis on lights and darks on a form when we approach our painting. I’m also going to point out some quick Photoshop tricks that can help bring a bit more "oomf" to our little pumpkins.

So without further ado, let’s talk about what we’ll need for this lesson! Today we’ll be using Photoshop, I'm using CS6, but any version should be fine, a drawing tablet, the internet, for references, and some textured brushes. You can either make your own, or if you’re a lazy butt like me you can download some for free.

Here is the link where I downloaded the brushes used in this lesson:

(https://gumroad.com/jeremyfenske)

Select the "FREE PS BRUSHES +how I use them video (vid w/commentary)" option and download the brushes (also feel free to support Jeremy, and /or check out his other videos and selections, he's a really great painter), then place the .abr brush file in a directory that you're familiar with. We will import these brushes into Photoshop together during the lesson!

If you’re all set, click the enroll button now to create some creepy and cute Halloween Jack o Lantern art with me!

And lastly to my students, thank you all so so much for embarking on this journey with me into the tonal values of a painting. This lesson is a slightly trickier one with regards to tonal value painting, and Photoshop experience, but I sincerely thank you all for allowing me this chance to share my passion and a bit of my daily life with you. If there is anything you'd like to learn more about in my next videos, or if you have any feedback or comments regarding the lesson, please do not hesitate to let me know! 

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Using shortcuts effectively in Photoshop can greatly boost our painting and drawing efficiency. Here is a list of the shortcut keys I've used throughout the lesson, as well as on a daily basis. Feel free to use them to streamline your painting process:

Alt+Backspace : Colour fills the canvas with the colour in the front of the colour picker

Ctrl+Backspace: Colour fills the canvas with the colour at the back of the colour picker

'B' : Brush tool - for painting

'D' : Returns colour picker to their default colours (Black in front and White at the back)

'E' : Erase tool - for erasing

'G' : Gradient tool - to create that subtle gradual effect in your paintings (feel free to play around with the settings to see which effect you're comfortable with!)

'L' or 'M' : Lasso or Marquee tool - creates a selection so you can only colour within it (great for hard edge lights!)

'R' : Rotate - rotates the canvas for easier lining!

Ctrl+Shift+N : Creates a new layer

Ctrl+N : Creates a new document

Ctrl+L : Levels box - to adjust the tonal levels of your selection

Ctrl+M : Curves box - adjusts the tonal contrasts of your selection - I usually use this along with the levels box to adjust the tonal contrast to my liking.

Ctrl+T : Transform tool - to resize or skew your selection

Ctrl+U : Hue/Saturation box - Here you can adjust the various colours, lightness and saturation of your selection

Holding on Alt while in brush mode - Brings up the quick Colour Picker so you can pick a colour in your canvas to blend.

Holding on Alt while between 2 layers in the layer box - Masks the top layer to the bottom one

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Meet Your Teacher

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Stephanie Chewy

Animator // Character Design

Teacher

Animation Graduate | Lover of Character Design | TV Animation

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Transcripts

1. Pt01 Introduction and Overview: Hey, everyone, it's that time with the month again Scary moment. In week of this month, I propose we go on down to drawing and painting some creepy but keep jackal lanterns and Photoshopped using some basic fundamentals of total value. It's a wonderful exercise for artists off beginner to intermediate level, where we can practice a few things we've learned in my previous videos. And more we're going to sketch out and line are Jackal Entrance, then do a quick analysis on lights and darks on the form. When we approach our painting, I'm also going to point out some quick Photoshopped tricks that can help bring a bit work of to our little pumpkins. So without further ado, let's talk about what we'll need for this lesson will be using Photoshopped. I'm using CIA six, but any version should be fined a drawing tablet, the Internet for references and some texture brushes. You can either make your own or if you're really easy, but like me, you can download some for free. I'll post the link to worry downloaded thes brushes down in the description, and that's it. That's all we'll need. If you're all set, I would like to create some creepy and cute Halloween Jack o Lantern, I with me Click the Enroll Button now 2. PT02 Understanding Tonal Values: So before we get into our creepy creations, let's go over some of the basics regarding light and dark values. Here is a flat circle against the neutral background. How could we make the circle look more three dimensional? The answer lies in six core factors off simulating light and shadow. With the's six core factors, we shall turn the sad flat circle into the very famous, very recognizable value ball. So we'll first start off by introducing the mid tone value, just what we see right in front of us. The mid tone is essentially what it means. It's the base value, or the medium value that helps blend, and the lights and darks of afford and set a starting point to anchor the values off painting. It is also commonly referred to as the base color off a painting. Next up, we have the highlight. We just an area in which the light source hits the object. Then we have the pin light gallop in light may or may not be super prominent or even present at all in some forms, depending on how strong or close the light sources, as well as the material of the object is shining on. It is basically a point in the object where light bounces off strongest. This is due to the amount off direct light. The point in the object is getting. Now that we have around my areas done, let's move on to the docks. We have our core shadow here, which is basically a shadow that follows the form of the object and where there is the least amount off late, it's important to note that the core shadow is usually depicted a bit further away from the edge of the form. And that is because, as we get closer to the edge of the form, will notice a reflected light coming off of it. Reflected light, it's light and it's bounced off the ground plane. The object this on and at the object I didn't reflected light to an object can really help anchor it to its ground plane as well as be a part of the entire background. And lastly, we have our cash shadow. We just pretty straightforward and the easiest to identify in an object. As it is simply, the shadow cast by an object under lights is usually the most concentrated and darkest where the object directly sits and it's in loose, further away from the object. It starts to slowly blend into the background plain. And there we have it, the six basic tonal values off a form with what we've learned in mind about our round Valley ball. Let's put them into action with our Rutan jackal lanterns. 3. PT03 Creating our Document and Importing Brushes: So here we have our photo shop open, and I'm just going to create a new document and going to go to Web here, which is when you're making digital art for the win, I'm gonna send this Teoh 1000 by 1000 pixels and the resident 150 because I'm not playing on Bring this out. It's just for publishing on the Web. But if you're actually planning on putting this out, then I would recommend a slightly higher resolution, like around 300 B. P i or more and a bigger size, like maybe instead of pixels. You use inches so you can better as meat what size you want it to be putting out ends. So I'm gonna hit, okay, and then we have our new document, and I'm just going to create a new layer. And I'm going to set the background color to something more in neutral, which will come into play when we do our painting later. And then I'm going to hit all back space, and that will color the entire fill space available. It's a shortcut for using the paint bucket tool. This will be our campus for our jackal entering. Lastly, we will import our delegate brushes into Photoshopped. So I've returned my brushes back to their defaults and I'm just gonna go to the brush window here and I'm going to click on this little arrow that opens the brush preset picker . And you can see all our default brushes from photo shop over here. And what we're gonna do is we're going to go to this little gear icon on the top, right, and we're going to click on it. And we can either go down and select load brushes or replace brushes. And the difference is that the brushes will upend your new brushes into your brush. Preset manager, while replace brushes will erase all that you've had here before and only leave the ones you imported. So if you use the replace brushes option, you have to make sure that you have your previous brush set up saved. If they're not the defaults. Uhm, if there's a default, you can just go here and select Reset Fresh is, and I will return it to what it was before. But if your brush manager has been customized, you can go to safe brushes here. Um and you can save the set that you have currently so that if you ever need to call it back up again, you can just grab it from her directory. So I'm going to hit load brushes so that it loads aren't directory where our new brushes are eso we can just go find our precious and click on load or a double quick doesn't matter , and you can see that it loads our brushes right after the default ones. And so we're just going to do that for the second set of smoke. And now we have our newly downloaded brushes in their fresh, preset manager. So for our rough lining layer, though, um, the fresh doesn't matter to too much. So this is more for when we're painting are doing some texture ring. So I'm just going to for now, grab the hard round brush. That's the default in photo shop, and we're going to just grab it and get started. And now, with everything ready, we can start gathering up our references from the Internet and creating our reference map 4. PT04 Setting up Our Reference Map: So what I did here is I made a reference document on photo shop. Um, so I went ahead and I went to make a new document, and I went to go select paper and hit. OK, um, the resolution. It's not tipping of a deal because we won't be printing us out or uploading it or anything . It's just for our personal use. So what I did was I went into Google and I copied a bunch of pumpkin photos and the pace of them here, and I collated them. Um, once you're done, ca leading it should look something like this. I'm so this is my mini pumpkin reference documents. So what I would do is I would quick and hold on this tax, and then I would drag it out and just release, and that will pop it out of its original spot. Besides the document that you're actually drawing on. And I can sumo and resize it, however I like. And then I can drag it over and just pop it wherever I find convenient. That doesn't obstruct my view off trying, and we're set to go. That's how I would set up my workstation if I need a reference on the side 5. PT05 Silhouette and Sketching: so great news we can finally start sketching are jackal interns, which I'll also sometimes refer to as pumpkins. So how I usually start out is while I'm reading my reference map and searching on Google for good reference images, I'll start planning individualizing how I want my art piece toe look like in my head. So as I was searching up pumpkins and the images, I'm already planning on how I want my pumpkin to be shamed. So, for example, it could be either, like a really long pumpkin, so it could be like, really short pumpkins. Welcome pages are really round perfect pumpkins, so there are many different shapes off pumpkins that you can pick to go off. Or you could even pick like it. Really? Which one? Something like that. Like not all pumpkins. The same. Yeah, um, and also it's because it's a design choice, so you don't really have to be super accurate or would be kind of boring. So I'm going to create a new layer, and I'm thinking, I want a flat squash pumpkins. So I'm just going to grab my default round brush and I'll start with a rough shape off the squash pumpkin and I usually try to create a bit mark interest at the stage through the asymmetry with the sign so you can see that one. An image of the pumpkin is higher than the other. And now here's a fun exercise to try. The next time you watch quarantines, why not try focusing on some of the factory elements are props in the show. If you haven't already, you'll notice a symmetry in many of those elements. But some shows have it a bit more than others, depending on the art style. I don't want my pumpkin to turn out to too wacky, so I'm doing it in a war subtle way. But feel free to go and just push that asymmetry in your pumpkin. So I'm going to draw in the little sock here, and then I'm gonna put my pen around and just erase those lines in there. We're not gonna worry too too much about those little pumpkin. My just because we're gonna paint over them anyways. So I'm just gonna quick lake over Themis like a rough guide. So now that we have our super squishy pumpkin, that's draw an expression. I so I'm going to try different expressions on my pumpkin Here, feel free to go crazy and wacky over a pumpkins expression. This is the time to just go all out and try everything. Just have fun and see what you come up with. Is that your standard evil looking pumpkin? So I mean, it looks nice, but let's try a different expression. So I'm gonna try a sad pumpkins troop, his eyes a bit, and I kind of like this expression more than the previous one. So I think I'm going to keep it. Um, And now that we have our rough designed down, I'm just going to resize it, but it so it's a good size, and there we have it are rough pumpkins sketch, and now we can start fighting it. 6. PT06 Lining: So now we have the roast sketch of a jackal entered. Let's go ahead and line it go and just going to go to a passage e and lower it a bit. Maybe to like anywhere between 10 to 20 and let's say is a good amount. I'm gonna make a new way. Pinger assumed in make fresh that slowly and then I'm gonna start learning my pumpkin. It doesn't matter what kind of style you use for your line. Um, it's really up to you. If you would like to have a more in depth analysis of line styles and just aren't styles for TV shows in general, feel Frito. Look up my previous video about I'm creating a character from sketch to TV. So let's go. So he's gonna do you like a simple light kind of blind. Also, when you're lining it, be nice if you could start thinking about when you're painting. Oh, we're a light source. Me that's really important. When you're painting, Teoh is be aware of where your light sources so that when you actually get down to painting , it doesn't. The light doesn't go over the place way to the stock here and because of flat competence. That's why we can see the intent here. Because of perspective, I don't This is the horizon line, and this is our I. Well, and anything below the horizon line would have a con cave sort of lying to it. So that's why we have this line. I'm just gonna go king drunk in stock. I'm not gonna draw in thes ledges because I am going to paint over ism and then sort off both, um, in my painting process. But I'm going to keep the rough at the back sort of a guide for when I paint. Most important part is the eyes for the eyes. I'm gonna do a different technique. I'm not really gonna line it. I'm just gonna take my lasso tool or press Al on your keyboard. I'll make sure it iss the photo and not those not the polygonal or magnetic classle. Cool. Um, if it's the only one, you can just click and hold and select whichever one you want. So I'm just gonna take the lasso tool and I'm gonna go in and sort of trees uber my rough guideline. It's gonna bring this when you compress cult to de select a section or you can press shift to add to a selection. So, yeah, I'm using both two buttons And when you're happy with your eye, you can press ultra backspace and that will color in Europe Oak and I So I'm just going for the other. I you can always buy No, after you color in groups And now we get to the mouth so we can do this in part. So I'm just gonna go and cut that off free here. If your hand is steady enough, you can probably go the whole way. But mine shakes like crazy. So toilet in sections, rotate it. We are told my keyboard, and then I'm gonna press, See if your canvas is rotated compressed, see to return it back to its normal state. But be sure to click away any more. Click away. Be sure to click on another tool so that it doesn't crop accidentally. Cropper image. So I'm just gonna find us. I think we're good. Oh, I'm using the control and plus and minus kids to zoom in and out of four. So I think we're good for the rough sketch of the pumpkin, You can go to your latest hop and great off. See how you look as the final line? Um, e c There's, like, a bit of abscess here off the line. So I'm just going quickly, so left it and delete it. So now it looks a bit cleaner. I'm good. And I'm gonna just rename this layer clean and the one below it. You can toggle the rough on enough. I'm gonna go to clean. I like our right click it and then just pick a color for us so that it's easier who identify which one. This the clean Lannert layer I want Dio after we're done with our clean Leinart is we're gonna go to this button here, and we're gonna click on it. What is it is called lock transparent pixels. And what it does is that when it's enabled, the layer will act as a mask for anything else. You draw on that layer, I usually turn it on for my Leinart layer because it's really good for when you want to change the color of her lines. But you don't want to affect anything else on the artwork. So, for example, I picked the bright red here, and I'm going to draw a straight line from one end of the canvas to the other, and you can see that the read only shows in the areas that me true and our layer previously , which is the Leinart. But if I turned that boat off, then you can see that the red goes anywhere in the canvas not being limited to the Leinart . And it's also good for if you accidentally go on the liner layer without meaning to enter on it, because it will happen. Um, like, Oh, no, I extent Italy got red lines all over my pumpkin when the bread was meant for my painting layer. Don't fret, because you can always just select the black color again. Are the original color off your pumpkin? Um, I'm Presti here, which is the shortcut for returning the color picker to their original coleus, quack and white. So because I probably is black. So I dressed Presti and it brought up the black color. Um, and I could just press ault backspace, which then fills in all the areas off the line art, and it's a really convenient tool to have. I use it a lot, and it really helps streamline the process. When I'm in the zone off my work and now we're done lining our pumpkin, we can start painting it. 7. PT07 Painting: so, no, we're gonna start painting our pumpkin, so we're just gonna make a new layer below the clean and rough layers control shift and creates a new layer. Okay, Now we're going to outline or pumpkin first, so we're gonna make a rough shape for a pumpkin. But I am gonna grab the This is the lasso tool that I'm using. Which is Ellen the keyboard. Select. Uh, Rennie or insurance. You just quickly paint over those pumpkin just so I can have that rough Beijing for my details. - So now we have our base color for the pumpkin. I'm just going to lock this Larrys will, and we're ready to start painting on top of our pumpkin. Now, here's a really handy trick. He used to sort of mask whatever you paint inside the pumpkin. So I'm just going to be a new layer, and we're gonna check this box, use previous layer to create clipping mats and what this does, it's going to create a new layer on top off our previously er as gonna use the previous layer as a sort of guide for whatever we drawn in. So check it and press OK, anything that I draw blue meeting. I draw State will stay within this orange area. And so I was gonna see nothing touches outside. So you see, the paint doesn't go outside, But if I go in here, you can see that it's only affecting the orange area. So that looks like a miss. I'm gonna undo that. Um and yeah. Now I'm gonna go to my brushes, and I'm gonna select the square brush. It has a bit of a texture to it, which is what I like. We just perfect for pumpkins. Um, I'm gonna color pick that always that we had earlier. I think I'm gonna go a bit dark. Good you. So I'm going to turn on the roughly, er, because that's where our pumpkin wedges will be. And I'm just gonna use that as a rough guide for our painting. So I'm just gonna quickly go over the bottom of the pumpkin with the starker color. Because if you remember what we've learned about the values in the previous videos, this will serve as the darker areas and core shadow off the pumpkin. And what I am also doing it is with the help off the rough layer. I am visualizing how the wedges air going to extrude and how their forms will react to the light. And I already have an imaginary light source in my head, which is good Teoh have at the stage. So you can sort of start planning where you want to put your darks when you're relates. So my life is gonna be a bit of a sidelight, so I'm just gonna paint that accordingly. I like to think that I'm sort of molding. I guess what? I'm painting really roughly. So I'm gonna bring down the opacity off this roughly, er so I can just barely see the rough lines. It's a guide and focus more on my painting. And what I'm doing is that I'm painting. But I'm also color picking as a way to blend in the colors a bit more to create a sort of a smoother transition between them a tone and the dark areas off the pumpkins. So, uhm, I'm going to start drying in the light source now, um, which is gonna be around here at the top left off the pumpkin, So I'm gonna pick a lighter color and then I'm just going to likely go over where I think the light will hit, but it won't be too focused. So I'm just doing really lightly a rough area that I think will be that lighter than the talks color. And I'm also using the last little to pre sort of, ah pin light, which is where the light sores hits. In the most concentrated area of the pumpkin. Pin lights generally have a harder edges than the highlight areas. So bizarre tonight because pumpkins can be really shiny. Just gonna blend it a bit. Just making a bit softer, but not too so. And I'm using Ault to select the colors around me. So all it would be like a quick color picker tool. Just good, Teoh, help streamline the painting process. I think I'm going to go and I'm gonna pick Ah, harder brush. So I'm just gonna go over the pumpkin lines here because they're closer to the light so they would reflect more light. And as the lines progressed down on the pumpkin, they would get starker. And I'm also assuming out consuming any with my control plus and control minus or hyphen buttons. And just seeing how the pumpkin looks like as a whole. And I'm also using the space bar to navigate. So I would press space bar, and then I would just struck the canvas around and he's gonna friend s a bit more. It's gonna make a few areas a little bit darker. So it's not all uniform in the mid tone. Just gonna select our brush that we were using the 4th 150 book British. So going back to our little valuable if you remember, um, I'm sort of imagining that the pumpkin is that so We already have our light and dark areas here, and sometimes it also helps to actually make a new layer and just paint small value ball on the side here like a small, quick one. Nothing too fancy. So I'm just gonna do one up really, really quick, or you can use the one we talked about earlier in the previous video and sort of a guide for where each value goes so we can compare this valuable to the punk. It and we can pretty much already identify which value a switch. So we have our lights here, and they're small concentrated spot here would be the penlight. Then we have our darker areas which are reflected around here, and then are even darker darks or the core shadows with the over here. And we'll have our what the lights, which comes from a background, and I'm just going to quickly apply it here. And it's not much as you can see, but it roots are pumpkin in place with the background, and we're not going to go to too much into the more complicated values or situations off light and a form, because we're now we're just going to do simple site light and identify the different values of before. But it's always good toe. Have that have it off being aware up where and how light source hits an object so that when we paint, we can better have an instinct off which value goes where what we're gonna do now is changed online color. So I'm gonna turn this rough layer off. You don't really need anywhere. You can really see the difference now because we used as a guide. So now the extra pumpkin lines have been drawn. Then we're gonna go to the queen trying, and then even a Cree or select more reddish color for the pumpkins. And that creates a different kind of feeling to it. And you, Frida, just this color according me, whatever you like, makes it whatever you prefer. Um, yeah, I'm gonna find us a bit more. So now he would notice that the punk in stock is still not really, because I didn't color it yet. So we're gonna create a new way they were gonna match this in the previous base layer as well. And then we're gonna look at the reference images, and we're gonna look and observe what kind of green publicans usually have for their stocks . I generally like to keep the colors in one section off the color meal. So I'm not gonna move around too much unless I really want something that pops. And I'll pick something in the complementary colors list. Guy looks like they're happy song, really dark green. So I'm just gonna try out different greens here. So I slept with the screen, and then I'm gonna go and going to hit the lock transparent pixels option so that anything that I we'll stay in the green area. So in a paint over this and then I'm gonna go over brush to me. The idea You can see him going back like in a no, a lot, Because I want to see how the punkin looks as the whole. I'm gonna use a bit of the oranges, reflect the bottom, and next I'm gonna go to my line at layer Missile Light stock, and we're gonna pick a screen a dark green color for it, and the are pretty much done our pain. Now, what we're gonna do is we're gonna add a bit more detail, too. Really? Emphasized the dogs on lights in this pumpkin. I'm just gonna create another new layer. Create clipping mask. I'm going to use ingredient tool top end. So, like the orange from the pumpkin. And I'm gonna go to multiply moves and make sure that your opacity is set to not 100 or something lower than 50. You can judge it by yourself. I'm and be sure to set your layer mode to multiply a swell so that it goes over your pumpkins in the bottom layers. So now you can see it's making a little bit darker and a little bit more has a little bit more contrast, and it just pops better. I guess you can also switch between color, burn and multiply in the layer to see what kind of fucked you. Like that. Kind of like the color burn effects lower the capacity of I'm gonna make sure that this multiply mode and I'm just gonna I'm going to create a new leader and said it team multiply this time, just nothing. I'm keep creating layers in changing the settings in this. I'm just gonna pay another nuclear in the mud and do it quick lasso tool. I'm gonna go to my grainy it, and I'm gonna set it as normal boobs. No, I'm just gonna quickly to stop instead it to screen and lower the opacity. So it's kind of like light is shiny onto the pumpkin. Now with that hard edge Good to the scene for a stock here. I just have that hard head hard hitting late. - I'm actually gonna make the color of the pumpkin a bit more interesting. Maybe said it to a different color. Give me a purple. I'm gonna erase a bit of Just hear us concentrated. The next thing I'm gonna do is we're gonna go into the eyes and key a little bit off the inner structure so it doesn't look like the face has been painted on. It looks like it's been carved. So remember the horizon line we talked about earlier? Whatever, as below the horizon line will have a con cave look to it. So that means anything that is an icon cave form. It will show that of the edge inside. And I am going to press control and dark in it. That is the inside of the pumpkin. Now, I've kind of decided, like at this point, that I actually don't really like the purple for the expression, but I like it around the edges, so I'm just going to last. So this selection of the face I'm gonna change the color to more of a brown. So I'm just gonna hit by a color picker tool. Then just gonna look for a brown that I think works. And that's pretty much what art is. It's you just experimenting with what you like. It's an artist. Um, and there's really no rare wrong way to approach it. I'm just gonna repeat what I did earlier, again with the lasso tool. And even so, even now, from like just this one section here, you can start to see that it looks like it has a bit more death, and it looks more like a carving instead of just stickers just in to the mouth in sections . Because my hand shakes like crazy, it's really unstable. But if you have seen the hands good for you, just go the whole way just taking the lasso tool, just going over little section at a time. I think that looks good and we are pretty much done for our painted pumpkin. You're free to just end it here, for we can add a bit more detail to this pumpkin to make it look more like a jack o lanterns for Halloween. 8. PT08 Adding Accesories and Finishing Up: and we'll come back. What we're here to do is we're going to add a bit more accessories to our Jackal intern. And what you can see here is that I added a really quick cash shadow under the pumpkin using the Ellipse marquee tool by pressing M or going to the second option on your toolbar , where you have Donald lines and just selecting the lips option. And I colored it using a darker brown color. And now I'm going to just blur the shadow to make it a horizontal blur so that it fades out and we're going to lower the opacity to around 80. So now I'm going to rename the Slayer ass Shadow so I know what it ISS while drying and photo shop. It's generally a good practice name, really years as you go along. It kind of didn't do that for this lesson because the leaders that I had were all pretty straightforward. Um, and this photo shop fire will only be opened and used by me. But in other cases, especially if you have a lot of layers or when you're working of someone else on the same photo show file, it's definitely a good idea to name all your layers. Um, so now I just renamed the Slayer a shadow just so I can easily identify it later on. And now we're going to create a new earlier and shift it above the line earlier. And what we're gonna do is we're going to mask it to the liner layer by holding on Ault when my cursor is in between those two layers and you'll see this little arrow with a box I can when you hover over those two layers. So if your top on that ill masked layer on top to the layer below and you can toggle this mask on and off by holding Alz and tapping between the layers. So I'm just going to grab my lasso tool and create a little flame outlying for the candle inside. So I'm going to pick a yellow flame for now. And as I go along, if I find that another color would work better, I'll change it. I'm also just trying out different layer filters and using the hue saturation box, which is control you on the keyboard to adjust the colors or the levels and curves boxes, which are controlled L and control em to adjust the brightness and tonal contrasts. For now, I'm just experimenting around to see what looks the best. And now I'm gonna do is I'm gonna okay, go slayer. And then we're gonna mask it again and and going to go to the screen option and I'm gonna goto blur Gaussian, blur it just a little bit. Just so you have that flame emanating from inside. Right now, our little candle flame is all good to go, but I still wanted to add a bit more. So I made a new layer and I grabbed my default round brush. And I went ahead and drew a little decorative chain on our jackal that turn to finish it off. Yeah, - So I'm just the finding the edges off the pumpkin smell for a bit so that the flame stands out better. So there's just one last step to do, which is to control hold on control and select the little square icon where the artwork off the base color off your jackal internists, and then click on the top most layer and then click on this button here, which opens up the curves, bucks and then we can adjust the contrast of our pumpkin according me. So if you want, are looking to be a bit later, you can do that. But we wanted to be a bit darker. We can also do that, but that doesn't really look as nice. Um, this is no sort of magical feeling. Tow it, which is pretty cool, even kind of like that. So it's a little bit like glowing kind of, and we're done with our creepy and cute little jackal and turn feel free to make a bunch of these so you can have your very own little painted Jackal Antrim family for this Halloween . They're also really any ideas for a card as stickers or just for fun. It's a great way to celebrate the season and also a fun way to practice the different tonal values on a form. And, of course, feel free to post your painted jackal entrance into the class discussions. Or if you'd like to paint your very own Valley ball with the six tonal values, I'd love to see those a swell and lastly, thank you. Also, so much for coming on this fund never journey with me into the basics off light and dark values on a form I hope to see him in the next one. Happy Halloween.