Value & Color Painting - Affinity Designer or Photo | Isabel Aracama | Skillshare

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Value & Color Painting - Affinity Designer or Photo

teacher avatar Isabel Aracama, "Every expert was once a beginner."

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

8 Lessons (57m)
    • 1. What You'll Learn in this Class

    • 2. Outlining the Flower

    • 3. Painting with Light and Shadow

    • 4. Painting with Light and Shadow 2

    • 5. Painting with Light and Shadow 3

    • 6. Adding Details

    • 7. Softening the Edges

    • 8. Colouring

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About This Class

In this class you are going to learn how to paint a flower from scratch painting with light and shadows, otherwise known as painting with values, and finally, how to apply colour to it.

The method used will allow you to paint render your flower and apply as many colors as you want in a snap, with the help of blending modes. 

You can apply this technique to any other subject matter of your liking!

Meet Your Teacher

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Isabel Aracama

"Every expert was once a beginner."



Hello! I've been a designer & illustrator for the last +20 years. I'm a BFA (UPV, Spain) and Science Illustration specialist (UA, Portugal). I have a knack for digital and vector drawing.

All I know, you can learn, so get on board! You can also visit my site and follow me on Youtube, for more free tutorials, updates, and news and join the student's Facebook group where we discuss illustration and show progress.


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1. What You'll Learn in this Class: Hello, thank you very much for joining this class. Be very welcome. We are going to learn how to first paint a flower and then coloring it. It can be the flower I present. You will find the image in the resources for this class. Or it can be any other flower of your liking. Or even if you prefer to just paint some other subject matter, go ahead and do so. So you are going to be learning how to pay with lights and shadows. This means that we will start painting in black and white. To then pass to the coloring process, you are going to discover how easy it is to paint like this and how flexible this technique is. We will be first painting it in the color, and then I will show you how to easily change that color. So you can have a full bouquet, a full range of flowers, or whatever your subject matter is. We, additionally, we'll be talking about how to organize your layers, how to set your process for painting, how to treat your edges, and how to add details. So I'm very much looking forward to start this class and to see what you do with it. So please, when you are done, I would love to see your work. Now, let's start. 2. Outlining the Flower: Okay, so the first thing I've done is setting up my cameras. This is a pretty big combust, something like four thousand, four thousand, two thousand pixel, 96 DPI if you want to make it pretty biologists make it at least 300. And I sell it for printing or it could be also for the web wherever the output you want to make it. Now with the crop tool, I have cropped the image and left only the part I am interested in. Okay, so now that we have our reference on the cameras with the background, we have locked them off. Now the next thing we want to be doing is grabbing our rectangle tool. And we are going to make sure it's filled with black. We're going to drag it over R reference. And we're going to make sure that we come here to the blending Modes. And we're going to select Color in such a way that we have a black and white version of our colored reference. This is the principal going to be taken, not painting with color, but painting first devalues light and shadow, and then we will add the color. There are many other approaches, but this one is lexical and I want to introduce it here because I think it's really interesting. So we're going to make sure we locked this layer two, and now we're going to grab our pencil tool. You can also use the pencil if you prefer, or you can draw it with pencil, then scan it and place it over you combust. This is a proton or using because I have silos and a tablet. But the end of the day, wherever you use, you will have to use either one of these to pen or pencil tool to ink your flower. So I'm going to select then the pencil tool, and it doesn't really matter which brushy use. I just selected one of these. And I say this because at the end we are going to be getting rid of the stroke. So don't go too crazy about that. Now, another interesting thing you want to be doing is, well, you see here I have the fill on a probably does not what I want, so I will get rid of it now. This you wanna PLOS or almost close your shapes in order to have the field, when you put the base color, you want to have the fill over the better. But for the time being, we don't really need it, so we're going to leave it like that. Also make sure you don't have the stabilizer on. Because when you're painting with a stabilizer, this is going to be constrained in a little bit, your curves to be smoother and does not something we want, or at least hypotonic. So I'm going to make sure it's off. Now, another interesting tip. Once you start drawing your pedals, at some point is going to get too messy. So maybe what you want to do is changing the color of the next better, or at least the pedals that are close together. As I say, this is something that we will be tending later on. So don't worry about that. Just try and draw things in a way that you understand what's going on there. Always remember to more or less closure shapes in a way that when you are a color, a fill color that would be easy to, to do even though we are going to be painting over them. But just to facilitate your work. So we're going to do this. I'm just guessing where things go. And again, for example, this, this area here would be covered with these petals. So I don't really care much about what's behind because it won't be visible. And we're going to proceed with all the petals in the same way until we have completed or flower. So you can see here this one is folded. So this area of the better belongs to this one here. So what I'm going to be doing for that is with these objects selected, I'm gonna come up here and I'm going to say insert inside selection in such a way that now I'm going to be painting. And as you can see, it's painting inside that selection. The moment a pass is not painting, the moment I come back in a will. So I'm gonna erase that. And Starbucks, again, this selected. And we're going to paint inside like this, and this is nested inside. This is a clipping mask. Okay? Now I'm going to again change the color for my stroke for something different. Let's go with a yellow. And let's keep on working. Okay, so we have most, all the petals here. It doesn't matter if I didn't, for example, draw these ADR here, are that one in there? Because I can do that later and we can paint it. So for the time being, I think this is quite good. We're going to select them and GRP then here, control G. You can see I already have done. Now I'm going to duplicate it and I'm gonna keep this one there for safety just in case I needed later on. And I'm going to select in this one, I'm going to click Enter Shift, put it to the side. You can see here the mass of petals and the lines. Well, this is the reason why I like to work with different colors just to make sure I can understand a little bit better what's going on later on. So now, next thing is going to be doing the same for the stem and this area here. So we're going to again select or pencil tool. And we're going to zoom in. So truly I want to put this on just to have a reference. And now we're going to trace its, I can hear go past the boundaries like this because this won't be visible. Now, this is a different piece. So we're going to draw it separately. You will understand later on that these parts will tracing here are placeholders. Okay? So I could also do this, but I don't want to overdo the line work. So I can work like their own painting, those aliens there, I'm going to zoom out a bit. So pencil tool, making sure I gloss it. As I mentioned before. Now we're going to draw these leaves here. One comes like this. And the other one. Okay. Go down there and keep going. Perfect. Perfect. Now, I am going to group the role. I'm going to duplicate it. I'm gonna pass it here. And the first one, I'm going to live there for safety. So we have here the wireframe for or flower. We are going now to see how to paint this. 3. Painting with Light and Shadow : Good, so now we're going to start introducing the first license shadows for our flower. Nsa said this is approach I want to take for this class because it's a very flexible method of drawing. You will see how we introduce the color later on using blending Modes, white in color. Obviously Bohr, initially we are going to be painting with values. Now you see here I have my reference to the right and Mitre into left were underfunded. Maybe you want it all the way around up to you, how you feel more comfortable, maybe you want it up here, down there, wherever you preferred, That's fine. Now another thing I like to do is even though this is my main reference, I'm going to duplicate it. As you seen here. I'm going to pass it here. And I'm going to use the crop tool to simply make it smaller. This, and what I'm doing with this is only my reference much closer when I zoom in Andhra, group them so I can move them more comfortably. And I'm going to zoom in here. I'm going to put it on top. Because the only thing I care about right now is this better here with a black stroke? And I'm going to be making all these shadows and lighting over the petal. So to do that, we're going to pass now to the pixel persona. We're going to select our brush tool. And you see here I have my basic set of brushes going to select this one here. I usually pick rounded soft brush and I'm going to select, my pedal is one here, okay? Now we did selected, I'm going to come here to insertion. I am going to select insert inside selection in such a way that now when I paint, it, only paints inside. Obviously that's not the color I want. So I'm going to grab my color palettes and I'm going to be painting in shades of gray. Gonna give it a little bit of noise as I usually do, I'm going to try something lighter than that. I want to set first off, my base color in this good work, something like this. And I'm going to go all over the bed like that. You may think that you can also do this in the designer persona just by filling it with color. Yes, you know, of course. I'm just gonna do it like this. Deposit is up to a 100%, the flow is also a 100% and the hardness is down to 25%. That's fine. Now, next thing we want to be doing is changing exactly these settings to start painting. And nothing I'm going to be doing is rotating my combustor, which you probably can do coming here if you don't have an iPad, whereas in 800k or on a tablet that allows you to do this, you can rotate your cameras like using this, not as great, but it works. So in any case, I'm going to rotate it here. So I'm going to position this somewhere here where I can see. I'm going to zoom in, going to get rid of this. As I said, I'm going to be using this, this brush here. So I'm gonna put it aside so it doesn't get in my way. Now with a brush tool selected, we're going to select a color gray, gray-scale to set some of these Shadows use in here. So important now, set the harness down to 0, set the flow down to something like 2527 in the opacity, down to something like almost 40. In my case is 36. I will be checking if these are the settings I want I'm going to give it a little bit of nice year end just trying out because sometimes what? You need to tweak things as you work. And now I'm going to start painting. You can see here I'm painting outside. This is because I forgot to nested inside my petal, which is going to select it here, this one here. Okay, so what I need to do is take this, I'm going to call it. I'm going to select again my better here. And I'm going to paste it inside. You see, not like this, but like this. Ok, so it's nested inside the clipping mask. Now I can keep going. Now building only inside the barrel. And again, Well, at this point also it's interesting to, to say, okay, I don't need this stroke anymore, so I'm gonna get rid of it completely like this. And I'm going to keep on painting inside my selection. Make sure this is always away, has to be otherwise it will get messy. Also, you can see in here a jagged edge that's because we have the canvas rotated, but don't worry about that because that will be like that later on. So we're going to keep on charring. Also, I make my process bigger and smaller. You can see it here with my keyboard, which is another thing that is really convenience when you're working. Because it really helps you. I mean, it's much, much faster to work like that. So I go painting. Always very important to play with a Potidaea flow. If I think it's just way too much, I can just make it more transparent or I can just change here the color and make it lighter also. Now, we are going to be creating the illusion of shape by painting with the grayscale. It's important that your patient doing this, because gradations needs to be subtle in order to give you a feeling that it's realistic. You don't want to make dark. And then all of a sudden some kind of like to light color. Just try to follow the pattern you see in here. And this is something that the more you do, the better it becomes. I'm not going to say it's something that you will do perfectly in the first attempts. But I can tell you that the more you do it, the more you practice, the better you will get. Always be careful not to grab here because that will become a little bit grads and you don't want that, you want to keep very, very much on the gray scale, like using here, ok, so be very careful just to be always there, okay? You can also use these colors here, but I prefer to play with my wheel because it's more comfortable to go up and down. So that's my choice for this. So I can go here and now I can make this. And again, I like to put noise to my brushes, but that's just my thing. It's important that, you know, cannot talk about that now here. And that this process have settings. Okay? These are the settings for my brush. I think it's the way came. I don't think I touched anything. This is down to 0 and is not going in here. So basically, this is the settings for my brush and is the one I use the most to do this kind of work and until they do. Okay, this is c, what will happened? This when backup to 200, you don't want that. You put it down to something like this. This put it down to something like this, and this down to 0. And keep working. Again on this side. More things. We are painting big planes. So we don't want this to be activated. This is false presser to control the size. If I activate it, you're going to see now I'm gonna make this darker. You're going to be painting. And if I press, it's how it's thick. And if I don't press that mat, it becomes thin. Little thing I'm not pressing now impression. And this is much thicker. So you don't want that at the moment. Make sure it's unchecked. With this, I'm picking the color from the next pixel. So it will help me to blend the colors in a much better way. Instead of coming back here to the wheel, what I'm doing is just picking them from the next neighbor. So it would be more consistent. It's easier that way. Now there's nothing I like about working with them, factor persona and the persona when I'm creating the pedals now for example, you are seeing here that this is much rounder. I didn't do it at the very beginning. The only thing I need to do is just modify it like so. And that is really nice. Now for example, now I would like to make some of these lines in there. So I'm going to activate this year. And so I'm going to be working more with pressure, so I have more control over the line's thickness. Okay, so using more or less what I've been doing here to paint this barrel here. Now you can appreciate here this is a little bit more noisy then this y can not adapt later if I wants. So basically, that's the approach we're going to be taking for the rest of the battles. 4. Painting with Light and Shadow 2: You can see as I go drawing different parts, I go cropping my image to work more comfortably. I'm going to create this one in here. So the first thing, it's going to be selecting it. And as I said before, I can just come here and selecting it, I can just say, okay, I must just grab a tone that is a base color. We're gonna get rid of their stroke. Or I can just go and do it as I did it before painting inside. So we have here the curve we select here inside selection, Insert inside selection, and we're going to proceed with an expert. Obviously, my battles at the moment are not in the right position. This one should be behind this one. And here you can see it, it's on top of it. I will change that. But I I'm anticipating what is going to be because this is in shadows because it's behind. So I can understand that I need that to be darker. Another thing to say is you don't want your strokes to be too blurry. I know the harness is down to 0, but at some point you want to make them a little bit more sharp. Just like painting like this on time and another time over it. Or you can pull up a bit. The hardness. What we don't want it to look is like a, it was like dreamy or cotton made. So we want some big moral for sharpness at some point or in some parts. So good to have these go comparing. For example, this one is much darker in here. You may know, struggled even when you're working with crops. Okay? Okay, so here we have more or less the values in our petals. Obviously there's much more work to be done in places like for example, here, we're missing the shadow, these areas here, well, I'm gonna paint behind just to add some of the shadows within here in the inner parts. But that's about it. The more time you invest in painting each detail in this first phase, the better outcome you will get. So up to you to spend much more time. And this is the first part of a famous painting. As I said, I'm going to add now sum a darkness here. So we don't have these gaps and we're going to pass into detailing more or parallels with subtle lines and stuff like that. That is going to make it look much better. Okay, so I'm going to fill up those gaps using here. This area here belongs to this parallel. So probably the best thing I can do is just paint over it something like this, making sure this is inside the shape itself. That was probably way too much. So I'm going to make it lighter somewhere like there. Okay? And for these ones here, what I want to do is come to the background, create a new layer on top of the background, which is still going to be very much in the background. And I'm going to be filling those gaps. We see probably not so dark. And all the gaps we see around, we will be fine tuning the whole thing later on. And now we're going to see the next lesson. 5. Painting with Light and Shadow 3: Okay, so with all these things in places you see, I have this group, which is the petals. I'm gonna give it a color just to make things more clear for me. You can see here it contains all the battles. Oh, and also you contains the stem. So I'm going to pull it out. I'm going to select it's all the same parts, which are these ones here. I'm going to command X to cut them, and I'm going to put them out in another group. Now to paint this, we are going to obviously selected first. We're going to put a color in it. It's a bit of noise as usual. We're going to get rid of the stroke. Probably. I might have it lighter. And now with the brush, we're going to select, insert inside selection. And we're going to start painting. Oh, that's too much. Okay. Hallways, this opacity down, flow down. This. Now 18, this is 40 and hardness down to 0. And we start bending. Wanted lighter. And probably now they probably want this a little bit darker. And this is the beauty of working with vectors. Vector shapes that you feel with color because you see how easy it is to change your your colors. They're always makes sure that this doesn't go on top. This happens all the time. Actually, I am going to erase that and I'm going to select this one to keep on painting what I was before. Just block in here things. I need to get too stressed about getting all the details and just blocking the main parts. But I want shadows and lights to be always. I tried to add a little bit of noise, as I said, because it gives some rugosity to the whole thing that's tough like OK, so let's just more or less liquid. It is now something like this. Just to have something there is go for the next part, which is going to be this area here. Let's just choose a light gray color. Sketch again of the stroke. Stepping in and again, select that one and clipping mask. Let's go for it. Okay, so more or less that's it for this part. I'm going to turn that on again, so I don't get horrified when looking at it. So we have that I'm going to just leave that there may be needed later. And again, I'm going to duplicate this. And I could be working perfectly with the crop tool, but sometimes I just find all the ways of doing things that maybe not so common to other, open, to other people. And it's just the way I prefer to work. So after you, if you want to use the crop tool or this one, methods I'm using now. At the end, it's a matter of arriving or you want to be so, no big deal. Okay, so now we're gonna paint the stem and is going to be the same base color. For the base color, you want to select something that you see along the whole stem as the more useful. And then you will add to it the rest. I'm going to put this here on top. So you see now it's adopt before it was not c. Okay. So again, put it on top. And I'm going to bet insight stem. Are you seeing here there is a narrative. Now I'm made this a little bit lighter and I made this finally I a 100%. Now what I want to do is try to trace this in just one go. So I'm going to start at the bottom. Well, more or less, probably. Well, it's a good idea to make this part and another layer y because now I can duplicate it. And again, if I want to increase the color, but also I can maybe move its offset it a little bit so it will become a little bit thicker. And also, now I'm going to grab the three of them, going to duplicate again, going to group them. And this one here, come on to Effects and make it. So I offset it. Now you see a half those two in here. And perfect control over them. So this one belongs to here, the shadow, you can see switching it off. And these three which I'm going to also group, belong to the highlighted part of it. Obviously. And again, as I always say, the beauty of working with vectors will allow me to simply modify wherever I want in my stem. If I don't like the way twisted. Initially, I even can get rid of some of these which are probably not helping. My drawing at all. Can make it thinner. Hampton like this. Yeah, I think it looks pair. I'm going to group this x2, which is this part which is painted here. I'm gonna name it nerve. I know where I'm standing and have gone up more to the left a little bits. And obviously this needs more work. There's one thing, clear. More transparency you have the more times you have to pass over your paint to add more of it. It's finding the right balance in this. It's something that takes a little bit of practice, but it's worth that just brought it in such a way that it will give you the best results. Playing with gradients and all this area here. Now, I want to paint this part of the stem. Put it below the leaves in there. And again, where it would have been good to do this at the same time, I did that. Tambora in the right approach. Where anyways, something like this. Now I think I'm going to copy paste the Nerf. This one here. Now I'm going to put it down there. Actually, I'm gonna correct, I'm going to select this one. Now we're here. I'm gonna paste it. And now once it's pasted in, I'm going to muskets inside. Okay. I'm doing this like this, so it looks consistent with the one on top. If I trace another line now another nerve maybe looks to different soil in one that now I'm going to paint the inside in the stem. And I'm going to copy attributes Command Shift P. So I have them both. Obviously this needs to be below this one and actually this one needs to be below the stem. So I'm going to correct command x or Control X, going to select my stem, which is this one here. And I'm gonna put it right below. Okay, so there it is. It is below it. So you can see here. It's not so clear to see like this, but trust me, is below. Nice. And let's spend inside this. Sometimes it's good to exaggerate the colours at the beginning just to make sure your paint it in the right. Masking your elements, et cetera. Ok, so using hero that we have painted the whole flower with values. It's a grayscale pellets. And we've been using vectors, and we've been using bitmaps. As I said, the very convenient part with the vectors is when it comes to you want to tweak whatever it is. You're going to be able to do so very easily. Beads making this thicker or just changing the shape of it. I mean, that's fantastic. That's undoubtedly something that you want to use in here. In the next lesson, we're going to see how to add details. 6. Adding Details: We're going to be adding now details. Now using here that I have this area which corresponds to this. I have switched off the patterns cuz I want to work first in these Ada here. And I am in my brushes dry media, I think this artifact brushes for Affinity Designer. If they're not, it doesn't really matter, just pick something in your brushes that has a little bit of texture. I'm going to grab this one and see how it works. The first thing I want to do is making this smaller. So coming to pass city, making it down and harness down to 0. And making sure I'm in the rights layer. I'm going to paint in a new layer. I'm going to place it below the white area and I'm going to increase the shareholder. I'm going to try with this. Actually, I have this activated. I don't need it now because I'm painting big areas and I'll make it even darker. It has a little bit of texture which I like before we were using, Remember the soft brush with no textural allowed. Now will using a little bit of texture to start introducing more detailed the painting here. And obviously because this is on top and I'm not going to be able to see through in every area. But that's fine. That's what we want. And yeah, get your values right. Liason shadows doesn't have to be exactly, exactly the same but yours try to imitate a little bit what you see. Now I'm going to create a new layer on top of this white, which is this one in here. And I'm going to start out in more detail. Now, I can activate this so I can make different thickness for my pencil from my brush. Now again, why am I doing this in a new layer? Well, first of all, because it allows me to work more free. But also because now you see there Command C, Command V, I duplicate it. I am going to go the effects, color overlay. I'm going to say I want it. I prefer to work with the wheel gonna make it Whites. And obviously now what I need to do is move it's like so you can see now that we quickly have created this kind of like ruffled nerves. So yeah, couldn't do that if I was working in the same layer. Just to sum up what we're doing here. You have the main container, which is this. You have the nerves. Of this area. And you have the highlight. I have to go to the pixel at, to the designer personnel. And I'm going to do this area here. So I want you to see what I've done more than doing it perfect. And I'm going to keep on paint in making sure always being very, very, very mindful of their layer, I'm working. I'm going to remove that now because I want to paint the Euro area here like this, where I think that works quite well. So you can see not bad. Maybe a liter binaural widen that. Actually I'm gonna make a new layer here to make sure that I paint on top of everything. And for the time being, I think we're good to go. Now we're gonna do the same with the petals you seen here. This is the flower. And I just rotated the campus because I work more comfortably. I kind of feel this is way too textured, so I'm going to change them for, for something less texture. Maybe these ones, I just go trying, does what I do, try. And when I see what works, well, I'd use it. I'm going to turn with this one and if I don't like it, I would change it again. But anyways, you get the idea how to work all the details for the petals and the leaves and everything. So I'm going to work on that. So make sure you are in the right place. I add a new layer inside my container, which would be the pedal itself. I'm going to start working. This is activated. This is down to 0, and this is down to 3025 to there we go. So now that we've seen how to add all these details, we just sin Now I'm going to keep on adding to the rest of the petals and the stem and also the Sadia here, not to bore you. I will just do it and you will see the final results we've seen already how to proceed. It will be exactly the same process. And in the next lesson we are going to see how to fine tune a little bit. The edges is also important. So I'll see you there. 7. Softening the Edges : Okay, so in this lesson we're going to see how to soften the edges for a flower, because you can see here they are pretty sharp and that's not very nice. As you can see, this one is much softer. And in order to make it less unrealistic, what we want to be doing is softening the whole of the flowers edges. So very important. The first thing you want to be doing is using here I have it in one layer or separated details on top. The whole group for the flour and the shadow we put behind to cover the gaps you see here I have it all perfectly grouped and named. Now, very important, always keep this original flour or our work in another layer, duplicated and work with a copy. This is something I always do for safety. I want to keep my vectors and everything in there and in case I ruin the whole cube because I did something wrong, I always have a copy. So that's my suggestion. That blocket make it invisible and start working here. Now, you're gonna see here that this is a copy as you see in layers and all vectors there. Now what we're going to be doing to soften the edges, we're going to be using this blurb brush tool. You see here the moment I touch it, the whole thing has become a pixel layer. A single object that is rasterized, okay, so if I want to change something now it would be much more difficult. So that's why it's always good to have these near. And already in we go closer. You can see here some pixelation went that pixelation because now when working with full roster objects, and even though it's already a little bit soft, we want to add a little bit more of our softening 2D edges. So what we're going to be doing is we are going to put this down to soft, something like 30, something like 15 here. And harness down to 0. And we're going to go all over the edges of the flower with a small brush, in my case is six. But just because of the sum, i have, so just make sure that you make it really, really small and go over your edges like I'm doing here. Softly. Okay. Just don't overdo it because it will become true, Laurie, and we don't want that. We want a right balance of softness in the edges. So that's what we're doing here now. And I'm gonna do it all over the petals. Probably these ones which are a little bit farther, could be, or could take a little bit more of very nice ball. In this case, because we don't have a perspective that is really clear, is not really necessary to overdo it either. But so you know that when edges are closer to the viewer, they will look sharper than when they are more far away. I think it's very clear that it has changed a lot. So for you to see more clear, I'm going to switch back on this layer here. Now, this is what we have now. This is what we had before. Okay. So, yeah, this is the way you're going to go all over your flour in the parts that you see that need be ofs afternoon. You're going to apply a little bit of this blur brush. I think this is good already. I guess here I wouldn't have a little bit more of a shadow because it looks very flat. But that's just a matter of when you're working, tweaking things as you go and making them look perfect. What, and that's about it. Remember, Laura, brush tool go all over the edges and make them look software. Now we're going to pass to the fun part, which is coloring. 8. Colouring: Okay, so we're going to add the color now. And it's the fun part because you're going to see how flexible this method is. Now without flour selected, what we're going to be doing is creating a new layer. You see it here. Let's just make this a different color so we see clearly. And what we're going to be doing is clip must get inside. Now, next thing, blending modes. You see here, this is set to normal, which is the default. We're going to come down here to color. We're going to select it. And what we want to be doing now is selecting a corner that looks red like her Aegina. Let's just get rid of this. So we see the color here. We're going to select the brush tool and we're going to start painting over our pen out. It's, so you've seen here. Now for you to see this, the color, what it's doing for you, the bending mode. If I'm back to normal, you see it's much more Gracian max. But the color is giving us a lot of transparency. We're gonna give all over that flower n, Since we are painting with a clipping mask, we don't have to worry about painting outside. See I'm not doing this. Makes it extremely carefully because I don't need to. The only thing I really have to be mindful of is here. I don't want to paint in here. But for that, the only thing we need to be a little bit more careful. So something like this. And if I go over, the only thing I need to do is just erase it with that grazer tool. Let's just paint all over. I can take my color, for example, I cannot hear something that looks more like an here. Okay? But basically what you can see in here is that all the values, all the lights and shadows that we painted initially are working in our advantage. For example, when we're bathed in things like this pinkish red in here compared to this other one, which is much darker, or this other one here. If I want to change my colors, I can perfectly do so. I just select a different color and apply it. Okay, so more or less we have the color there. You can see pretty nice. Now, why? I always say this is so flexible. Well, because it's clear to see that now, imagine you have a client and he initially asked you for a red flower or our read, whatever. And you present your work or it yourself, you're working in it, you wanted it initially in one color. And NGOs are like, oh no, this is not working. The only thing you have to do is either switch off this, create a new layer. And now I decide I want to blue, which is to say different color. And I come here and I can do exactly the same, always remembering that I have to be here in color. And now I have the same flower in a complete different color with just one new layer, which is simply fantastic, so flexible SON S. Now we're going to paint this area here and just grab some green paint over its. Due to create a new layer. You don't want things to be in the same layer. So I'm going to place it there. I'm going to put it to color angry debates. Obviously, I want this, for example, this color. So what I'm going to be doing is just beginning and combine it with my initial Green. And again, we'll get masked. So I don't have to be very mindful of the edges because I'm not going to be painting outside and so forth. Now I see this orangey color there. Well, the only thing I have to do is grab eater and painted here. Maybe I'm going to go down to proceeding a bit. And yeah, this is a method that I really, really like. It's not the only one to paint, but it's a really nice methods. And as usual, the mortar investigates the better results you will get. But now you can see here how we have started with the grayscale and then added color in. Just one snap. So very, very nice. I hoped you liked it and I hope you are now going to practice this method and you show me what you come up with.