How to Draw/Paint a dragon digitally in Photoshop | Chris Scalf | Skillshare

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How to Draw/Paint a dragon digitally in Photoshop

teacher avatar Chris Scalf

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

28 Lessons (5h 7m)
    • 1. Realistic Dragon INTRO

    • 2. Drawing the head form and inspiration

    • 3. The body form 2 legs 1

    • 4. The body form 4 legs

    • 5. Real dragon part 1

    • 6. Real dragon part 2

    • 7. Real dragon part 3

    • 8. Real dragon part 4

    • 9. Real dragon part 5

    • 10. Real dragon part 6

    • 11. Real dragon part 7

    • 12. Real dragon part 8

    • 13. Real dragon part 9

    • 14. Real dragon part 10

    • 15. Real dragon part 11

    • 16. Real dragon part 12

    • 17. Real dragon part 13

    • 18. Real dragon part 14

    • 19. Real dragon part 15

    • 20. Real dragon part 16

    • 21. Real dragon part 17

    • 22. Real dragon part 18

    • 23. Real dragon part 19

    • 24. Real dragon part 20

    • 25. Real dragon part 21

    • 26. Real dragon part 22

    • 27. Real dragon part 23

    • 28. Real dragon part 24

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About This Class

Learn my techniques for creating dragons digitally in photoshop by using real photos of an alligator. I begin by taking you though my process and inspiration on how (and why) I draw my dragons the way I do. (Inspirations from the past combined with modern studies of anatomy in dinosaurs and real animals.) The actual painting itself is a new frontier for me, as I challenge myself to go another level beyond the typical way that I have always illustrated dragons up until now. Not only do I explore intricate detail for both the creature and this surroundings, I also stumble a bit with a few things (such as the background) and show you how I recover from that.

Meet Your Teacher

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Chris Scalf


Hello, I'm Chris Scalf.

I am a professional illustrator/animator working mostly in the commercial art industry. I have also done some published work in comics industry and science fiction and fantasy books. A lot of my followers previously knew me as CGSBGS on youtube, where I showcased a lot of dragon speed paint videos in the mid 2000's. I will be adding a lot of different videos and tutorials on here, anywhere from traditional medium to digital, and animation/3D. Please feel free to reach out to me and request specific tutorials you would love to see!

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Related Skills

Illustration Creative

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1. Realistic Dragon INTRO: everybody. Chris scalp here. After a bit of a wait, I have finally completed my, uh, digital art Dragon. A realism video tutorial, which I do in photo shop. In this tutorial, they began by taking you through a quick process. So I am. I structure my dragons where I get those ideas from, and from there I begin a tighter, more realistic study of a dragon creature using alligator photo references. I actually went out, uh, last summer, Took some pictures of some, uh, good alligator detail, reptile skin scales. What? Not and at an alligator sanctuary. So I actually use those two, um, uses his reference to get myself idea of good, uh, detail, lights and shadows and whatnot. And, uh, this is actually my first attempt at it, illustrating a dragon this way. For the past several years or more, I've been doing the same old, same old, using the same old methods, but I really needed I felt the need to break out of that. Try Teoh improve myself. So this whole video here and you can see it playing up here. Time lapse of a preview of it. Um, it's about six hours total for me to do the whole thing. And, uh, as I'm doing it, I'm taking you through it. Some of it is I've gone back and narrated over some parts that had the time lapse little because they dragged down too much. Whereas other parts I'm just speaking as I do it, but, uh, I hope you'll enjoy this video, and I'm looking forward to hearing some comments and feedback. I will be adding some additional addendum videos to this. I'm gonna take some questions from some people and do video answers where I basically just do some demonstrations answering some questions. So if you have any questions about certain techniques that weren't clear on this video, feel free to reach out. And, uh, thanks for watching 2. Drawing the head form and inspiration: Hello, everyone. Welcome to my tutorial on how do digitally paint realistic dragons and photo shop before we get into this, Um, I'm gonna take you through some steps on how I actually what my actual thought processes behind actually drawing these creatures. I've been drawing a lot of monsters since I was very young. So there's a developed form in my head that I follow That just goes back to my childhood. Certain influences from TV movies, just various fixes fictitious entities that I have follow. That's kind of where I first got my start, actually got more brainwashed by that before I started learning about form and anatomy and whatnot. And so there's a lot of there's a lot of characteristics in my illustration work that is driven in from those earlier days of my childhood. So let's take a look at that real quick. Okay, To start with, um, I just got empty, uh, a blank canvas here open for you. I'm just gonna create a new layer. And I'm just gonna roughly sketch in a base design of ah, monster head. That is kind of like the underlying structure or form of what I think of when I'm drawing my dragons. Basically, what it is is a have an earlier version of ah, what early cinema would interpret as a T. Rex before all the newer movies came out with the more anatomically correct, scientifically accurate structures and farms that had all kinds of different dinosaur designs that were just very fictitious. I mean, you had the upright walking T rexes and a lot of the stop motion animation. What not and also all the toys that were out back then when I was young, there was somebody variations of toys, and I was influenced by all of them combined. And I ended up doing my own little comic book characters based on that design. And so what I'm sketching right here is, um, a really kind of a hybrid of all those designs combined. And, uh, there's a kind of a t. Rex is if that's even a word under underlying form to the to the basic monster design here , and you can see it. Um, there's a little bit of all kinds of influence in here, but this is a is a habitual form that I've picked up over the years since I was very young and how to draw, you know, side find monsters based on a prehistoric, uh, priest or creature design. And again, this this form probably goes back to I want to say I was probably 11 years old when I started drawing this particular form right here. And, uh, this is pretty much the, um the form the design that is underneath most of my dragon dragon art. And you can see how I draw the eyes, the eyebrow ridge a certain way. And there's, like, this box shape snout, and, uh, again, this is a very derivative of, ah, a mixture of a lot of different stop motion monster movies from when I was a kid and or, you know, pictures and monster magazines. And I had some favorite plastic toys that I would play. What? They were similar to this as well. They end up just coming up with my own design. So we'll just move this over here centered a little and what we're gonna do as we're gonna draw over top of this in a minute here. And I'm just gonna kind of trance, uh, transform this over into a dragon just to show you you know, again, where my idea for the form comes from in my dragon design. So turn the opacity down just a smidge here, and, uh, then we're gonna create a new layer on top of that. And in that layer, I'm just gonna start drawing certain little, uh, details and assets that you would find out the dragon, starting with the big spikes or horns on its head. And I'm just gonna leave that in loosely over top of the crazy sci fi dinosaur sketch. And right away immediately, you can see pretty much the the design of almost all of my dragons and give or take. Sometimes the snout stretched out a little bit longer are quite a bit longer. Or, um, and others ill and a lot of little spikes to the nose or the chin and stuff. But this is it. This is basically the start of my ability to draw dragons. I figured this would be a good place to start for you to show you my technique. Um, I learned this before I learned any kind of riel form. And in learning, Mr. Also, it's got kind of a comic book part to me. look and feel to it and teaches It Taught me a lot of expression and gesture aspires, you know, facial expressions and whatnot, for example. You can see the eye is sort of centered above the mouth, and the miles goes back way far as far back as I could get it to go without it looking ridiculous to me, that gives it a lot more expression of ferocity. So, anyway, is I'm talking. I'm sketching in here the random details to make it look like, uh to transform it over into a dragon. And so if you turn off that layer and look at the, uh, I don't know, I'm just a copy of Hero Quick, I'm going here under liquefy. I'm just gonna try to transform it a little bit more sleep and get a decent sized brush here. And I'm just gonna cut up, pull that snout out a little bit, just to give you some are ideas of how this basic form that I use is, uh, um used so many different ways from just messing with the proportions a little bit, but it is all it's all mostly the same form. If you look at most of my other dragon designs. It's, you know, they're all pretty much based on this idea underneath it all. And there's, you know, people ask me, How do you How do you draw dragons? Where do you begin? What's the the basic basics that you follow to get get one started. There's so many different dragon designs out there. Really? That's a fictitious creature. For the most part, there's a lot of different styles you can you can focus on. It's gonna circulate with my lasso tool here. Copy that later. Put some of these details forward to make sure they match the, uh, form of what I just did with liquefy. And we're gonna open up a new canvas here, huh? In the document. And I'm just gonna loosely sketch and just make something up here. Just make my point. But the idea of the form of the of a dragon's head is pretty much based on your personal interpretation. What your inspiration is there's so many qualities of details, whether it's ah, mean expression or whatever inspires you as an artist. Stop. You gotta really dig down into your heart in your mind. Just look at the what influences you the most. And, uh, what inspires you in the details I just showed you with the base drawing are based on my inspiration. My inspiration goes back to childhood. You know, my imagination is just so gigantically huge back then and I was so excited and inspired by all those different forms of entertainment inland Not, uh, it will always be a personal, passionate love of mine is the style drawings of creatures and dinosaurs and monsters, however inaccurate, some of them were so for dragon designs, I always think it's important to just not get caught up in all the extra details and frills and things around the dragon's head like all the horns and spikes. But no, you're form first, you gotta understand your form, your base form. And in a moment here, I'm gonna after I show you just a couple of fictitious head drawings. I'm just kind of doing right now giving you some really random something. I'm just making up off the top of my head just to show you a different random style of this picking out my brain. But the man I'm gonna show you how dinosaurs my other big influence when I was young, Just dinosaurs in general. If you were to look up, the more the more scientifically accurate designs of today how you could use them even to base your dragon designs on something like that. So but look at what we were doing here. I'm just sketching in a real loose, random monster gesture pose nothing fancy. I'm just doing some loose sketches in this first part here. I'm not gonna do anything overly detailed. I'm just doing this stuff this quick basic sketches and that will just open up a new layer here, turn that other one off. And, uh, another idea that I think of sometimes I'm drawn dragon is to make the snow a little bit more bird like that. Kind of a pointy beak. So I just kind of etching a little beak first. And, um, this is Ah, this is a habit of mine right here. You see, I'm just basically drawing from a picture that's in my head. Um, just to show you what? What I dio and I established the beat first, and then I start in my mind I can project and see what the rough sketch thumbnail is, and I'm just kind of tracing the images in my head. I know that's kind of unusual, but I just want to show you just different options to, uh, different styles. And then I'm gonna show you him or more, uh, built up basic way of, ah sketched out a thumbnail of the dragon and stuff when I show you the dinosaur pictures, but wrote Quick, this is just again. This is just another interpretation, and you can see how there's just a little bit of an influence of, Ah, a bird's beak in there, some random horns going in different directions. And you could really just kind of doodle all kinds of little dragon heads like this just to find your own basic inspiration. How you like their mouths or I ridges may be friendly or looking. I always look really mean and really hostile. It's just that's just a throwback from my childhood. It's a habit. I would like to make it look really vicious and scary, and this is my preference. But with dragons, you can come up with your very own style interpretation. So anyway, there's Ah, there's that 3. The body form 2 legs 1: Now I got my, um, get this rough sketch open here. It's just a velociraptor. Very loose. Based on some studies, I did, and I got two layers here all the time. No layer and then a little bit more tighter. Sketch and women do. First time I'm making new layer of him's gonna show you some of the form that I see that used to translate into a dragon. It's kind of my documents around here. Second, position them in a better way, Okay? We'll turn my shape dynamics on so my brush can be a little bit more, uh, one more precise here, but basically, there's a shape for the body. Any little stem that comes off the neck when turned that layer down a limits. You see the look better, but the body looks ago a little potato shape, and I'm just kind of building the little features off of that loose gesture. I was just to show you the gesture that I I kind of I was thinking of when I do this rapture got your you know, bass parts on the wrist here on the hand, on the other arm. You got your forearm, your upper arm, wrist and so on. So I was just kind of with this out of the way here to give you an idea of what kind of gesture and, um, kind of pose them in the look at here to do this Dragon, get my documents in order here. Radio optimize my Photoshopped real estate. Someone make a new layer on my just Got a seven by five document at 300 g p I seven inches by five inches. Make sure my transfer and pressure is not on both opacity and flow Cheddar. And I was gonna move this guy a little bit more out of the way. The layer pallet over here and, uh, start sketching here Randomly sketch a real loose, similar farm toe the pose. It's the rapture sketch. Is the body again? Just kind of, Ah, elongated potato. And then, uh, right off the top of that, almost on an angle. Hope between vertical horizontal. I'm just got a little bit exaggerated version of the same kind of quality that's on the raptors neck and head. I would make sure that the bottom end of the body is a little bit thicker. I was gonna emulate the legs in this manner. Right here. You can see the basic structure of the back legs is the shoulder, the arm, and here's the upper arm in the forearm coming over here to the wrist. And I just loose in the case of a hand. And then I was got kinda draw that arm that's on the other side, positioned up a little bit more. Maybe the figures are bent in, you know, enlarge this a little bit, like a little small. Okay, the select at. And I'm just gonna go in here and kind of like the tail curve out around the other side of them. Here, move it down a little bit, make room to give him some wings. But, uh, I'll put his back leg back a little, like babies in a mid stride and then just indicate the loosely You know that horn. So it looks like a dragon. That's like a dinosaur. Just a few more lines here. They're just real loose sketch lines. Just thumbnail Gonna lock that layer, pick a blue color, go edit and Phil. And what that does that fills that why and changes. It fills those lines we did with the new color so we can create a there. Go back into black and then what? We're news on this, uh, later, we're gonna sketch a detail for some wings over top of it. Other later. I just want to keep those separated. And basically I'm doing some based structure. Here's a a study I did on a bat. I'm gonna kind of follow just the basic structure exceeded the like, these limbs almost like big hands, big skeleton hands that fan out the wings on the rest of the arms and what not? They're just your forearm, your shoulder, your forearm, upper arm and what not? And so I'm gonna try to follow that design. So here, you see, like, there's a basic are made their farm in upper arm. And I'm gonna try to draw that on my tracking feature. Is the forearm okay? There's, like a thumb, like with fingers almost of the thumb, and that would be like the index finger. This would be like the middle finger very similar to a hand. So be like the ring finger at the same knuckles as fingers do. And then, uh, here's what would be the pinky. So just just think of a hand with the, uh, you know, the two, uh, knuckle joints. And then up here, just connecting there, just a little bit of, Ah, a little bit of a wing bit there, just like in a bad picture there on the bottom of the base of the wing would just kind of be built off the body. And you just connect them like this, just like on the bat. It's like a bad swing. Little curve line swings slightly folded. So I'm doing a little bit of a pinch layer, so I'm gonna lock that layer, and I'm gonna fill it with a different color green. And then we make a new layer work on top of the top of both these layers Here. First, I'm gonna go ahead and unlocked that later and just kind of indicate the other wing behind it here, like so just real loose. Okay, so there's the basic gesture thumbnail pose of my first dragon body type that I This is one of the most about my paintings. It's mostly based on this guy here, and I have two basic dragon designed. This is the 1st 1 I'll show you the 2nd 1 and the second is based on a quadra bed. But I'm glad Flush this element more and just turn down the layer and making the new layer turn down the opacity in the color layer on any the thumbnail air I was gonna draw on top of that and miss version on this layer, we're just going to a cleanup immersion over top of the thumbnail kind of trace over it. Let's move my stuff around again here a little bit of extra things in view. And I'm just gonna go in here with my black line and just kinda very loosely still lose. Not as lose a little tighter, but still lose. It's gonna go ahead and just do a rule. Basic quick line drawing over top of this gesture posts and same thing is what I showed you earlier. My basic dinosaur head prehistoric dinosaur had based on my influences early on and movies and toys and whatnot over the years. It's kind of based on that, I'm gonna bring my job back a little. I like my mouth to go back past the I not under the I think it gives them a lot more attitude. And the expression if you take the mouth back really far and just a couple of teeth here and there has mouth closed, have is gonna draw very loose, random, non specific, you know, spikes horns inside of his head. How the neck like a little bit rough here. Maybe there's some spikes and went out on the back of his neck again. This is just a loose drawing. Nothing real tight. I just want to introduce you to my dragon form before I go in and actually do the painting flesh out the arms. Got the shoulder of the upper arm for arm, wrist hand. It's all real basic anatomy, similar to the rapture, but just, you know, give and take, um, slightly altered to be my own design, but based loosely on that form and anatomy there figures are a little wonky there, but I'm like I said, I'm going to do this real quick. This was a more structure and illustration. I would go in there and fix those funny little knuckles I just scribbled in there. But I just want to get this part down just to show you this form and again for the wing. It's like another set of shoulders there. Um, I just did a little bit of extra muscle and structure there because gonna need that to, uh, make those wings worked to take flight Sollers. And here's like the forearm. And then there's the upper Harmon. I'm just basically, like I said earlier comes like a big mutated hand with the thumb and the forefinger is there? I see. And some illustrations. People, some of them. A lot of people like to do just three. The little protrusions offer there, But again, you get, like, the to, uh, joints knuckles were not I just kind of loosely tracing over that form. Uh, very sharp. I'm like, almost like, uh, nails on the end Sharp nails closet. Rather. And then you see the base of the wing attached to the body all the way down to the all the way down to just above the lower the legs of the thighs there and real quick. I just want to show you this is, um, kind of an awkward, contorted position. But just like I said, it's like a like a hand. There's a thumb and and four fingers Not a very good drawing my hand, But just just want to really drive home that point that you can really think of Ah ah, hand when you're doing the wings and that pretty much basically, uh, help you when you're doing your dragons just like thes bad drawings over here. Turn my thumbnail layer back on and, um, go in here and just kind of solidify some lines on my Leinart layer. Big old thighs coming off the body and then this lower part here, it's good to go in and study some of the enemy and various pictures, especially dinosaurs. Look up, dinosaurs. Look at these legs and you'll notice this style this form of leg I don't know the scientific names of all the parts. I'm very visual artists have always been a very visual artist, self taught. So a lot of this stuff is, you know, just based on years have been able to see this stuff and draw what I see. And I'm only just now starting to learn the science behind a lot of this stuff, and, uh, I draw on the tail there Arts a lot like music. Some people can just naturally do music by ear. They don't even know the names of the notes and chords and just play or sing art. Similar. There's heart's always Been that way for me. I've always been able to draw stuff before I even knew what composition waas or color theory? Anything. I just drew stuff. So, um, throughout the years, I'm still slowly picking up the actual science and theory behind visualizing and drawing a certain at certain things like creatures and anatomy and whatnot. But, you know, here's Thea. Here's the basic drawing of Ah, my first basic dragon form of style and you can see it's loosely based on a dinosaur. That's pretty much this is This is in a nutshell. This is the, uh, for my use the most for all of my dragon paintings, and there's just variations that I change up on each painting. I'll just exaggerate. Certain things are Are your head smaller head longer neck? Whatever. It's completely fictitious, so long as it's based somewhat on a usable form that can work 4. The body form 4 legs: for the 2nd 1 We're going here now. Another layer. Another document. Rather, I created a layer and I'm gonna bring out another sketch study I did of Ah, very loose try, Sarah tops, quadruped head structure. And, uh, a tap on is a just a very loose try. Sarah tops the bottom illustrations just of some quadra pet legs Kind of loosely based on the triceratops or other be other animals. And again, we're going to all the basic body for jester pose basic thumbnail, very horizontal shape. That's he's on all fours and for the neck. I'm gonna have the base of the piano angle. It's like so and, um, a little bit of a ridge there. It's this hair this horrible. That's what the next gonna come out of. And I'm gonna give him Ah, a little bit longer. The neck, Turn this pen pressure on here real quick. Turn all these off my brush settings, Okay. And then, uh, gonna go in here, just kind of give him a little bit of ah, holding his neck up, and then his head would just came out. Curve forward. Like so he's just holding up his head again. same old dinosaur science fiction, prehistoric monster dancer shape. And, um, I just got trying to give up just a real generic basic polls like you just kind of standing there and you can see that the front legs have they been like, that was gonna kind of go in there and emulate that pose. But some, uh, toes with little claws on him and and then for the back part time in a draw, a little arch up on the back a little. And then that big thigh area there, same same kind of back leg is the one I just drew again. And it wouldn't hurt to do some anatomy Study studies on this kind of the style of late. Most animals have that basic, you know who, uh, type start out like that. I don't know how the terminologies of it. I just know it's just something that drawn for years, but that's the basic shape of a contraband. Um, mistreated now little second foot. The wings and their advocates, um, horns. And like I said, I'm a very feel oriented artist. I do things based on feel the visualizations. It's good to study Forman anatomy because you've got to get a good sense of depth perception to help strengthen your ability to fill your way through a picture to get T to establish a nice feel in the form and structure of your creature. So one way or another, you have to know why you're drawing what you draw. And that's why I said in this video, um, I'm basically showing you why I dropping the way draw based on what I learned first. So again, repeating the exact same thing is the last one that the little shoulder there another. It's like another arm coming off of I'm almost but the, uh, forearm and upper arm and then that thumb like stocks room and then the little, like really long, creepy fingers almost for the wings. Get your index middle ring and pinky fingers a hand reaching out like that. This is the little knuckle joint areas of the fingers, and then you want to go in there and established the base of the wing. Just kind of reset. Resize is with the free transform, which is command he or control t on your keyboard, my lasso tool. I'm gonna circle that make the wings a little bit bigger with the free transform holding down control or command grabbing the corner there. So the base of the wing in this time is just going up to the thigh. And I'm just gonna kind of loosely like the batwing connect the end points there again, the wings slightly relaxed. It's not stretched out a little bit folded. He's just kind of chilling there. And, um, but this would be dragon form number two that I use when I do my, uh, my dragons. There's so many other different designs and styles of dragons. But for this video, I just want emphasize the two basic ideas that are in my head inspirations that I use when I do these things. All right, we're going to some little different this time. I'll turn off transfer in turn out of shape dynamics, and this is cool, exceeded a little lying down on the bottom. It's almost like a decline. The harder you press down on it, the fact of the line gets based on how big your brushes, of course, and the lighter you draw the skinny over lining it. So this is the really fun tool. A lot of line art people out there. That would probably be a lot better job at this than I would probably have a lot of fun, too. It just has a nice flow to it. I thought I would just do it real loose. Little Leinart drawing trace over my thumb. Now my new layer made a new layer just like it did before, and he's got another closed mouth on this one, and I'm just going in here and, uh, kind of doing the same thing. Basic dinosaur shaped and slightly along the long gated snout. Excuse me and just kind of trace over those horns there, little one behind their for perspective. See a little bit of the other side. Have some teeth, but you could see how this particular brush tool setting is. It's really nice that you just dropped really light. You get a little fine little line, and the pressure's turned off as faras the stylists for doesn't fade. No, it's going in here and tracing over that shoulder like structure on the wing and then a drop in the back of the head back of the neck. The chest be able to line there in the middle, but yes, again emphasize its could Dio do as many studies. You can look up all kinds of stuff. What kinds of creatures? For the painting. Him about to show you this for this main video, I, uh I base it on two things. My, uh, my dragon structure for my body form that I just showed you in an alligator. Photo references I took on analogue gator for the scales with that. So, um, not just the not just the scales in the details on the alligator, but I'm also going to show you, but lights and shadows and the interaction of the sunlight an ambient light in the photos that I have off to the side and we'll get all we'll get all that in a minute. But, uh, anyway, I just want to show you, um, you know, again the the real basics of these two dragon farms and you know, I'm just kind of traced over my wings here. It's a good idea to go in, do a lot of little studies of your basic dragon character characteristics, zoom out a little bit here and just kind of go in and continue to trace over my thumb. Now I'll make sure to include these documents. He's followed Li and fellow shop documents with the with the lesson so that you can open those up, study him or whatever. If you want feel free toe, finish up Drome and make him make him look better. Go in there and clean them up and just use them. Toe, No, advance your own studies. The, uh, how you work on your dragon for and it's going in here loosely drawn in the, uh, I could see you could do a little When the lists of the you know, cross hats type lines cross that's tape style style of fines. For with this brush setting, we find the doodle with it. I'm not much of a Leinart person of more of a painterly artist, so I'm a little bit messy doing this. Like I said, there's, uh, probably a lot of people out through that could really to a nicer job of this kind of the style of EQ digital eat drawing. I guess you could call it, but that feels nice. It's a nice flowing brush. I'm using a way Common tools pro. I don't use the same teak. I've never used this antique of ice. Preferred the small into ALS tablets. Somehow I made with the maneuver around a lot quicker with the smaller into those tablets. And then once you have your basic structure down, you can go in here and add little little frills, little little details. You know, whatever. Clever feels nice, natural got the basic anatomy and pose structure of his body established. So on top of that is going there and build off of that. I can build off of it on the same layer or just to be safe, create a new layer. And, uh, you gotta be a little bit sloppy here. A little bit of lines bleeding in other lines and whatnot. But I just wanted to a rule real loose quick trying for you. Turn off the thumbnail layer there. It looks a lot better. What's going in here and, uh, thrown in some spikes on his back. Zoom in here, build up a little bit on that structure in the base of his wings. Again, it's kind of a another set of arms and shoulders. Its muscles in there operate those wings. A little bit of detail back here in the tail, but here in the front leg. And that was good. Go ahead and draw an indication of the other wing behind there. Just for the sake of the perspective of the trying look to, uh, to flat a few more wisps of some with lines of their I don't hear the body detail in the neck there. Yeah, this is a very enjoyable way to draw relaxed. Um, I feel like I'd like to do a few more of these like this. It's not a not a style. I work in very often my line of work. I usually have to do a lot of more painterly digital techniques. And every once in a while, open up a document started doodling around with this brush. Uh, I need more practice at it, though I can learn how to do cleaner lines and whatnot, but I can only imagine comic book artists thinkers would really could really thrive on this particular brush setting. I make this look really, really good. Yeah, actual digital anchor went over this drawing and clean it up. And did their interpretation of it look a lot better than when I got here, but again, I just wanted to do a row. Basic rough drawing for you. It's just a established his dragon forms. Try to give a A pre explanation has to how I draw dragons and why drama way that the way that I do have a lot of people ask me that over the years where I got the idea. Teoh draw the specific style and people think I get him from Dragon movies there. And I don't nothing to do with the any of the dragon movies they've made over the years, just strictly based on earlier interpretations of dinosaurs. And, um, I, like Teoh, make dragons out of them because it's purely fictitious and it's an escape. I don't have the restrictions of having a draw, something absolutely specific and dead on something that already exists. And like I said, you didn't need some some anatomy in there, though otherwise, just gonna and have some bound you should get a work within. Otherwise your creature designs designs may look just a little bit too outlandish, and if you're going to use this in any form of work, concept, art or otherwise, he definitely to show that it's ah, I know that it can be somewhat based in reality, even if it is pure fiction. So anyway, there it is. There's the second dragon form. The 1st 1 is on two legs. The second one's Quadra paid, but they're both very, very similar. And these air the is there by first and foremost style of dragon that I like to draw. So now that I've given you that, um, at this point I know I kind of explain things very loose. If anybody has any questions or comments, please let me know shoot them to me. And I am planning on doing some video answers that I will be adding to the end of this, uh, tutorial. So feel free to comment and asked questions. And I think I need to clarify. By all means, let me know. So let's move on to the next part 5. Real dragon part 1: okay to get started, I have a reference photos off to the right. The one on the top is the one I will mostly be looking at for lights and shadows and composition. And the one on the bottom is more of a just close up reference just to look at various scales and whatnot. So let's get started. One begin by critical new canvas. Someone just gonna pick a 16 by nine at 300 d. P. I and it's gonna zoom out a little bit, position my canvas on the screen And, uh, I'm gonna create a new layer so that that will be the foreground layer and in the background there will remain for background elements and I'm a pick a just a normal soft edge, fresh air and start sketching away. And basically, I'm just going to a really loose, raw, rough sketch of a traditional in my own sense. Traditional dragon design basically a culmination combination of details and characteristics from references I've observed over the years, whether it's pop culture or real animals and whatnot. So just gonna lay down the loose sketch lines right here and just kind of lay out the basic form and keeping it kind of centered right now, um, again, just quickly going to try Teoh having night. As much of the realism is possible in that upper right hand photograph of the alligator have positioned up there. So I really want this thing to be, uh, as realistic as possible. Okay, looking at this, I think I need to shrink down this sketch of the head. So far, I'm gonna hit command T Uh, my Mac book Free Transform One's gonna grab the corner and just strike it down just a bit. Would be controlled t on a PC. I'm gonna go ahead and keep sketching in here. I start putting in some of these, uh, extra side details here, and it's on the side of his face. Just little rough spikes and whatnot. And to stand really lose and, uh, well, a little bit more free transform here, hold down the corners and hold down the command button to, uh, kind of skewed a little bit. Also rotated it returned to get the results. And I really wouldn't just start sketching some more detail here beyond the head a little bit into the neck. Some just kind of picturing the image in my head. Um, I'm thinking a getting a little bit of the long neck of this dragon, but I'm gonna have a turn a little bit. It's based towards us. I can have the body, um, be off to the side there. We'll see what I mean by that. In a minute here, it's gonna go ahead and do a little bit of contours because his neck is curved, turning like he's turning around towards us. So try to position the his arm or front leg. You call that right about here. Disliked it a little bit with the lasso tool. And it's kind of move that over a little bit, maybe move it back, de select that command E or controlled the NNPC. I'm gonna try to etch in some of the details of his body again. It's gonna be a forced perspective it So I'm trying to get the illusion of his Ah, his rear end basically is turned and coming closer towards us. His tailor, his rear would be like off to the side of the camera off screen. So just trying to get that in there and get a little bit some perspective in here making it interesting. So it's not just the boring profile side view, and you can see I'm just I'm staying really lose with my sketch line so I can try Teoh, get a good feel for the form of this creature and try to, you know, uh, stay on top of the of the the jester polls I'm trying to create here. And I just sketched some loose indication of some wings. They're kind of keeping it loose on the on the fringed edges of the wing, sketching a little bit of, ah, expression where the I would be keep him it look looking mean, looking savage. You can see I get Thea sketched in earlier the inside of his miles just to try to get a little bit of perspective there. So we get the basic shape down here Now, I'm just going around, jumping around adding some details here and there. Fill it up a little. I'm gonna have to go around this here and, uh, and close the line. I'm gonna do a selection on the outside and then select inverse. We'll see that in a minute. But first I want to go in here and just just kind of fill in a few more contours, such as these details on putting on the back leg. Some of these curves are important right here. Come on the arm just to give that perspective, showing just how the body is curved in position that the jester polls. These are important details just to really get lay it down and get myself a good feel for the dynamics and form of this beast here. So just put a little bit more rough edges around the side of the wing new and just just got a jumping around here, filling in some real loose detail that would make this guy really super over the top. Detailed, um, pretty inspired by the alligator pictures there. They some pretty good detail in there, and I want to kind of emulate that in this dragon. So go ahead here and sketch in his left hand, coming out from behind him, make it a little bit more, uh, more dynamic of oppose his baby. Uh, he's in a mid crawling and maybe is kind of lurching back a little screaming, roaring at something. And so I'm just gonna try to imagine the really good, um, kind of dramatic polls of his left hand there. I'm gonna make it nice and make the nails nice and sharp. Three fingers, one thumb. Typical fictitious science fiction monster fancy monster. So just kind of trying to get the, uh, the basic jester pose in my hand right here. I'm actually looking at my hand, my left hand, but radio Imagine, um, what that polls would look like. I'm just using that as a loose reference and drawing with my right hand. A little more detail appear. Draw the indication of the latter horn on the outside of his head, some scales prominent on the bottom with neck going all the way up to his chin. More detail, the better. Okay, at this point, um, I want to make sure that most of my powder lines air closed because of the picked The magic wand. Till when My news. I must select the outside of my object. And then I'll hit Q quickie Q by my keyboard and that basically will turn it into a quick Basque form. And you can see the dragon itself is masked off in a pink color, and I need to Ah, select an additional little gap here at the top between the wings. I'll hit queue again. The exit quick mask and go in there and hold down. Shift to select a distinctly while it's in quick mask mode. You can paint additional mask by making sure your swatches set to the black and white defaults watches if you switch the swatches to use white is your foreground color. What that does is it paints the mask away, cuts it away, but way wanted down right now. So go ahead and paint a few of these little gaps in here like visible spikes on top of his head. A little bit additional. I'm asking off. So it was going to do that right here. And then we'll go ahead and hit queue to exit quick mask. And then what we're gonna do is we're gonna click on the drop down menu under select, and then we're going to click on in verse. And then, from there we're gonna go back up, select once again and click on the drop down and hit modify, and then what we're gonna do is we're going to click on the option for contract and we'll zoom in here real quick. You can see what is taking place, but and I'm gonna go ahead and contract the selection by three pixels. And what that does is it shrinks the selection down. It pulls it right into your lines so you don't have a a little trace line around your Leinart. So I'm out here, switch the breast of color mode and, uh, sighs the broth separately. Big, nice heritage brush. I'm gonna pick a nice gray color here, and I'm just gonna go in here and just kind of fill this in while it's in color mode and color mode basically just fills it in. It doesn't paint opacity, and you can see we now have a floating layer shape of our drawing. That's what I'll have. It will have the dragon in the foreground, and the background would just be a separate layers. So I just tried to keep this in two separate layers throughout the whole painting 6. Real dragon part 2: Okay, I'm gonna contradict myself slightly. Here. In the last video I mentioned, I'd like to keep this to separate layers, foreground and background. But I'm gonna do a little bit of some cut and paste here and just add a few more layers here and now. So what I'm gonna do first, I'm gonna grab my lasso tool here, and I'm gonna carefully draw in, outline strictly around the head, include the spikes on the side of his face, loop it around, and then on a cue for quick mask just to check my selection. And then I'm gonna hit a cute exit Quick mask. I'm gonna cut and paste it into its own layer, and it's gonna move it around a little bit. He was free transform to, uh, maybe resize it, reshape it just a bit. But it right about there, once I have it where I want it returned, I'm going to the body. Lay underneath circle with the lasso tool, this little peace in the bottom of his neck assuming a bit here and, uh, moved a little pivot from the free transform bok to the size. Aiken, Rotate that up, then I go back to my lasso tool on the nickel here. I'm just going here. Just kind of draw around in nice shape at the brush tool set, color mode, same gray I used to fill in the body and color that in. So now we have ahead layer, label that head, and then I come down here on the body layer. He was a lasso tool. Circle around the hand, cut and paste it into its own layer. And I'm gonna move the hand over, shrink it down a bit, and then I'm gonna drag that later, put it underneath the body layer. So it's coming out from behind the body and, uh, named it left hand, shrink it down a little bit there, kind of moving around. And, uh, I'm gonna go ahead and rearrange my screen a little bit here. I want to make sure I got a little bit more of these reference photos in here. Got some really nice pictures here of the alligator and this body shot here in this one on the top Here. Some really nice detail in these. I want to make sure they're in a and a really good view, especially this top when I really love the detail on that face. It's beautiful, The glint in the eye and all that. All that detail and there's even some wonderful Hughes in the shadows. We can see a little bit of a cool color reflecting from the sky. Perfect. Can get this picture stretched out there. Now, I'm gonna go back over here to my track and painting, And I'm just going to make sure that all these layers are locked each once. I don't accidentally pain in the wrong layer and want to rename this one body. Okay, I'm gonna pick the brush tool and actually switch to burn. Tal said the highlights. I'm just gonna go in there and just kind of the very large soft brush. Just gonna mess around a little bit with the tones. Kind of burned that down a little and try to get a feel for the, uh, the depth in the shape of the dragon's body. Switch back over to the cross tool normal mode headed to the same thing. Make sure it's not normal. Accidentally hit and dissolve their And with the layer locked, I can go ahead and paint on the edges and it won't bought side of the shape and you could see right here I'm painting underneath the head. And that's the reason I separated the head from the body so I could get underneath There be a lot more shading over there. At this point, I'm just gonna loosely go in and just kind of indicate some of the some of the depth the low areas in the just gonna loosely lay this thing out. Nothing really heavy detail just yet. I want to go in here and kind of get a feel for the the loose, basic shape of this beast. And you can see how everything on here is just period loose right now. But the basic shape is there, um, I want to make sure I have a really good feel for the gesture in the well of the lights and shadows on this thing. So I'm just cautiously going in right now, trying to indicate some of the lower areas. It's more or less a glorified thumb. Now it's one thing I really love about digital art. How you could just, uh, you know, basically create the thumb out on a layer in your canvas and just kind of take that thumb now converted into the actual painting. And, uh, that's basically what I'm doing here. Try to get comfortable with the with the gesture and everything's this is gonna be my basically a piece that I'm using to compete with myself. I've done a lot of Dragonheart over the years, and, uh, most of them, they're pretty much the same thing over and over again. And I always, you know, get to that point like others do. We get really blood. Just wanna can I want to reach up a little higher and I do a much higher quality piece than anything you've ever done so little bit intimidated by this piece. I've never I tried to do this level of detail before in a Dragon. Some of the really try to go for it, So let's zoom in here at my alligator face. It's not just for reference. ITT's inspiration to meet I love all the little details in there, so going in here right now, just kind of just doing some really loose indications of some of the areas in the face here . I'm gonna turn that unlocking later. Go down here and get this smudge tool and had a little bit of different detail in here. I just got a kind of go in here and the edges this larger brush and just try. Teoh pushes around, so that's a little bit more the details just a little bit more rough. And thats so scribbling looking, but more of a rough edge scaling creature. So it's gonna go in here and use this much. Told the push these pixels around a little bit, just kinda more than clean up some of these areas to lose a little line in there. And, uh, e just clean up a little bit of these scribbles some of these sketch marks and just kind of get a good feel for how his, uh, Josh should be even go in here and just kinda smudge out some loose shapes of the teeth. But you've got to correct some of this down here as well, using this smudge tool almost as a brush tool. Just pushing the the pixels around here. Go to the top job here, some of this down as well, And, uh, let's create some nice, sharp teeth up here. Smudge tool is great. Can a kind of a brush tool in a racer on one because you can, uh, go in there and just push this stuff around almost like you're painting it. But the same time, if you, uh, scribble enough with it, you can actually make some of this detail disappears. I like I love this much toe, using it as an actual paint tool to help control the image. Decides my brush up here and the layers locked again. You can see I've been on there and jiggle it a little bit like a little scribble motion just kind of kind of gets rid of those scribbled lines. You know, it's more or less turning it into a just a, um, kind of blurred shape a base, if you will, that I was able to pay the tighter detail over, but it's going there with a large hard edge or even the soft edged brush. I just kind of jiggle it, scribble it. You can kind of shake out all those harsh sketch lines like that same thing. I'm in the body layer blocked layer again. I was going in here and I'm just scribbling them out. They just kind of disappear, go away And they just, you know, they become a little blurred indication of some of the depth some of it that you want to retain. And there is more less a base marker where you're gonna go in and filling in with some more intense detail. So back to my brush mode said to normal, um, sized it down really small. And I'm doing a little bit of, ah, detail up here in the eye area. It's hard to see on this, uh, video recording. My, uh, cursor gets so small you currently see it, but you can see that I'm drawn, appear around the eye and just try to get a little bit of some, uh, fine detail up there. The eyes are so important and pictures of animals, creatures, people only, really. They really drive home the expression. I'm gonna get that right over here and work on the the jaw, the bottom jaw corner of his mouth. That's another thing that I find very important for relaying the expression of animals and teachers. The ferocity go up here and do a little bit more detail. Just lose detail, kind of mapping out, if you will some of the areas and contours, some of the little lower values of the like the spikes and the scales. And one that and I'm looking over here at the My eyes were just kind of darting back for to the alligator and back to the Dragons. This Larry, I'm drawing right here loosely based on what you see in the alligator picture. I'm not trying to make it exact. It's just it's a loose reference, mostly for detail. But I want to what? My creature To remain in the fantasy rounds. I'm not going to stay too anatomically. Uh um, Similar is the alligator. Anything that exists in real life like to make it be very imaginative beast. So it's more fun that way. It's a lot more fun than just be free from the restrictions of of, uh, you know, realism and you're making up your own monsters. How to keep it somewhat, really reasonable, though I don't want to make it to ridiculous a little bit of suspension of disbelief, but you got to make it reasonable so proportions can't be too outrageous. So you see, I'm kind of indicating some are loose, rough detail in there but you'll notice I'm doing a little bit of the's rough. Um, scribbled lines are going in a contours so as to mimic the curvature of the side of his face. So just grab, uh, holding out Halt. You can sample tones and colors from within the picture. And I just grabbed a little bit of some Cray for the bomb there, and I was kind of paid out some of these details in there. And then I'm gonna go ahead and hold down Ault with the brush selected and just select the light grave right there. I'm gonna use that to paint in some repaint in some of the teeth here, what should work nicely. Just, you know, still staying loose, trying to get a, uh, could feel for you know how smaller teeth are and what not and how many teeth there should be. I'm just looking right now, the actual teeth on the alligator, what they look like, what their tone is. And that's got going here and just loosely dwells in testing. Testing 123 Testing, testing. 123 7. Real dragon part 3 : OK, moving right along using a, uh, small hard edge round brush. Armstrong's more detail in here of a detail around miles from a look over here at the the nostril of this creature. Just gonna Kanneh loosely create my own, um, design idea of how the creatures not also be I'm not gonna copy the alligator exact. And, uh, we'll go over here into some detail around the I create my own little, uh, pattern here on the side of the face. Try to get a little bit more detail here around the eye, a lot of detail underneath the eye that increases. And, uh, I think I might go in here and make the I look a little bit smaller. But in order to do that, I think what I'll do is all bring the creases up the I a little bit and add a little slit for the pupil. Switching out of white, going under a little glint with highlight right in the eye and do some. Are there additional highlights inside the actual itself and go ahead and do a little bit more, um, white up here above the I the eyebrow Ridge area trying to uh, establish some patterns up here for how I want this, uh, eyebrow ridge to look just kind of had a little bit of detail under the eyelid here in the lower lid. Zoom in a bit here so we can see it a little bit more up close. And, uh, we're gonna switch over to the black now and just try to add a little bit of more extra detail as well. Kind of going in through a few more wrinkles. Tighten up the detail. Appears well, but, uh, samples some of the grave from within the image and do a little bit of some, uh, a little bit of some lighting up inside the eye here. Really Wanna get the i detail? Correct. I makes a big, huge impact on the expression of the animals. I really want us to be really specific ground here. Okay? For this next part, I'm gonna do something different. I'm actually going to be narrating over some slightly time lapse video. There's because I'm gonna be doing the same and a tedious process for the next good long while here you can see on the bottom of the screen and just kind of put a little piece of art. They're screen grab of the brush settings. It's basically that throughout the next, uh, I don't know, I think 45 minutes or so And so I needed to speed some of this up and edited So it isn't so long and grueling. And basically it's two species in the using of four pixel, round hearted brush and just just drawing a lot of random rough detail, doing a lot of little rough squiggly lines and what that, Um, just to lay down a broad based texture. And this is a process I've used for years on a lot of my paintings, Um, I have seen in my past videos you'll notice that I always work in black and white first, that switch over the color mode. But in order to, uh, create the right texture use, I just I go in here and I put it down. All kinds of rough detail in this case scales wrinkles in the skin. What not? And, uh, I do tend to jump around a lot When I do this. Try to be mindful of that lime creating this tutorial so that I don't get to sporadic and that lose anybody with the the way I do things. That being said, if he does run into a question that you know something I seem to be doing somewhat nine nonlinear by all means reach out to me through the proper channels. Ask me whatever questions you know. Give me a time stamp on the video and let me know if there's something that he declare poor anyway, you can see right here I'm just basically kind of, uh, heading and little creases. And what not up there? The top eyebrow average say they try to tryto create had tried to create a little bit of, ah, scale texture but not too precise. It's It's very raw, very loose this early in the picture. I'm not entirely certain how I want certain details to be, Um, a lot of the stuff will come later. When I go to add more tone and color, I'll find, find that there's certain elements that may or may not be working, and I'll just kind of paint over it. That's something else I do. A lot of my paintings is kind, of course, correct. As I go, something just doesn't get the right feel. I'll start to kind of slowly deviate, deviate away from where I was going and just paint over it and as if it never happened. So we set out here down just any detail about the teeth looking at it, and I got the alligator picture off to the side of zoomed in on this for this part of the video just because the details so small that when I had it going full screen, it was really hard to see being done. So I just zoomed in on the part of face. You could get a ah good close up look of me actually doing the work. But, uh, I'm also including the J pegs of these alligator references in off the tutorial. So if you need to open it up alongside the video playing on your computer or on another computer or printed out and look at it, you can see kind of reference what I'm doing. And just, you know, as usual, I'm not drawing exactly what's on the alligator, but I am inspired by the detail. It's out. So there's, like, over here on the snout. I'm kind of making up my own detail. But you see me doing a little bit of a contour to try to indicate a little bit of some curvature of the side of his snout and just coloring in scribbling in some, you know, real rough detail. A lot of these details I've picked up over the years, even before digital, even before airbrush for just doing with pencils or even ball point pens. I mean, you can get similar effects just doing around, um, with this kind of these kind of details will even a ballpoint pen all the way back in high school days, I would certainly just noodle out, destroy all you know, little creases, little details and skin and creatures and whatnot. So this is Ah, this is for many years of just just drawing constantly obsessing. And I'd also do when I was bored, too. So sometimes the good time filler. Just sit there and do a little way. Okay? Right. Quick. Break away from the time lapse. I just want to show you were quick. I at this point went over to the reference photo. The face and I copied the layer. The alligator. See, I did that. And then I'm going to good image adjustments, de saturate, and I basically put it black and white so I can use it as a black and white reference. I needed to, uh, refer to a black and white image after a while, staring at the color image. That's another thing that happens after a while, staring at these things for too long, you kind of need to, ah, get a fresh view of some of detail working out besides mirror flipping, the image I'll often de saturate couldn't layer copy the layer de saturated and have a color layer and a black white layer of my photo references in a separate document. Or, if I have to print it out, I'll print out two versions as well print out color document in a black white document and continuing on just same stuff going on here on the side, you can see I see a little bit of the alligator reference off to the side. There just really a lot of random detail. I started to add the little black spots that you can see in the reptile skin of the alligator, trying to incorporate a little bit of that little black dots on there, you can see those. And there's also a small little blotches. So I'm gonna try to incorporate that a lot of that my dragon here. And that's that's one specific reference that I'm gonna try to maintain here. But you can see around the eye area here where I'm working. There's just there's a few ah specific patterns where I'm really kind of this little crossover shape drawing and see that I got little valleys and the, uh, kind of like a sunken in area here, uh, around his, uh, around with kind of a differentiation between the, um that the pattern of skin that's on his face. This is what's around his eye. Sorry, I don't know the technical terms of all this stuff. I'm strictly fantasy painters. I'm just kind of describe it as I see it, But, uh, I do like to add a, uh, that specific distinction around the eyes. For me, it adds a lot more character, ferocity, a lot of her expression, if you can put it on that all those details under the eyes there, you know, lots of layers of eyelids, wrinkles, what not and then that little something in area kind of around like an eye socket type area . And to me, that just really ramps up the cool factor. So again, over here, working above the teeth and, uh, just quickly throwing in a lot of little wrinkles and across crossing lines crossing each other. And, uh, I kind of got a little bit of a dinosaur looked toe. I really love the dinosaurs. When I was young, I would obsessed with drawing dinosaurs, just another one of my obsessions. I went through a lot of different phases. Just a little kid on dinosaurs was probably the longest one. Dinosaurs, of course, segment in the movies with giant monsters and things like that. But, uh, now I know a lot of kids love dinosaurs, but to me it was kind of the intro to drawing for me. That's was really launched my drawing, because I just you know, it was most things that just obsessed with. So now I'm doing a little bit of, ah, experience a little bit other different patterns there. I'm getting this off of the look at the alligator picture again, seeing certain types of scales, and I'm just trying to incorporate them in certain areas circling little areas. What? Not another thing I'm doing here that is specifically different than the way I usually do things. I'm actually zoomed in on one specific part of his face and working on that before working on any other detail in his body. Um, doing this because at this point, I'm trying to establish a mood, kind of a little area of like, a mood piece to give me an idea of to experiment a little bit with the colors and tones and what not just a small swatch of my painting before I move on to the rest of his body. Can I want to set the pace that way? If that makes sense to you, it's just more or less, you know, Stephen sticking my toe in the water versus, you know, going on there and doing it to usual high speed, Uh, knock it out with him, trying to get his realistic as I possibly can with this detail. So I wanna I just want to zoom in on just this one part here. Kinda really kind of set the tone for it. It's It's an intimidating piece for me. I can to make sure this doesn't look like the rest of my dragon. Paintings have done so many over the past 10 years, and sometimes they just fall into kind of a blase pattern where I'm not really challenging myself. I have to admit, I do get lazy as an artist. I don't, you know, challenge myself artistically. I just do the same old same old habits. It's easy to fall into those pitfalls. You just get into the get into this, you know, pattern of doing what you feel like you have to, but only enough to get by. I know subconsciously that if I draw this specific amount of detail, it's gonna impress. Ah, you know, a certain amount of people. It's just it's gonna get me by. But as of lately, I've been really wanting to get outside of that box when I challenged myself a little bit more. I've been so program toe work in the commercial art industry and it's after so many years of doing that, you start to desire some change, So even as I'm working on this piece, I have a little bit of pessimism and I'm trying to overcome that 8. Real dragon part 4: Okay, Now that we've got most of this detail laid out of just this one spot here, I'm gonna now work with a larger brush using the hard edge, round brush and with the brush set to normal, some black was going here and do some larger shaded areas. Includes darkening the inside the mouth. Here, it's basically want to start making some progress on the depth of this creature. Make it look more three dimensional. You can see over on the right. Um, the alligator reference How how the lights and shadows are It's kind of a midday sunshine. I'm gonna put the same kind of lighting scenario in my illustration. So I'm copying that as closely as I can, even though our anatomical structure a little bit different here. I tried to emulate the same light source sense in that reference picture. Self looking at the reference picture of getting some ideas, Um, where some of these all shaded areas would be on how dark the shaded areas will be and just more overall, giving it an overall darkening down. And then, once we darken it down off course, have to go in there and start doing some highlights as well. Just amounts it out. But you can see already it's starting to It started to get a little bit more, more depth for dimension to it. And at this point, the picture is starting to get a little more fun commuted, create. So we're going here and grab soft and dress. Now just enlarge that. Used the right bracket key this size the brush up and just go in there and we kind of tone everything back. It's not everything back a bit. I kind of got a great everything down before you go in there and have the highlights. So gonna be a little bit darker than the reference for a moment here. Go in the background right now Just because I need a contrast, I need Teoh make some kind of ambiguous detail gonna pick this little dab brush here and using all to hold all they sampled the gray there and I must go in. The background is kind of create a very ambiguous, blurred out background. Um, nothing real specific, just so I can have a little bit of some kind of a contrast. They're white is kind of distracting, and it's not helping me to visualize that's made the breast really, really big. Not helping me to visualize very well for my, uh, depth of my creatures face. So you can see on the right, the others grass in the background is need my illustration to have something equaling is as dark in tone. I'm gonna just kind of imagine, maybe there's some rocks back here. Maybe he's in sustainable rocky background with some fully is. And I just grabbed my, uh, no 14 spatter brush. I'm gonna go in there and just do some kind of really random, ambiguous detail. Nothing. Nothing really specific, Just kind of making up a little little off screen background details that could be anything . And this is just really helping me set the mood for where I'm gonna go with this thing. So back to my soft edged brush back to the head layer, try to darken this back a little bit. Now that I have some background elements to help me see what's needed in there, I'm just gonna shadow these down a bit telling these back this this area one of the I a little bit more deep does go in there and kind of get into those valleys really punched holes in your allotted to mention. So I really think that I really prefer to use the extreme base basic brushes and Photoshopped. I'm not really crazy about custom brushes just because habit more than anything I don't They work really great for a lot of other people, but I prefer to use just the the simplest, most easy to grab features. That's just kind of way I like to work, even still work on the normal weight Common tools tablet. I've never worked on this antique. I've tried him. I didn't like him. I'm so used to my old patterns and how quick I can work with the real basics. So I, you know, pretty stubborn about moving on to newer technology sometimes Anyway, um, moving on to a lighter color, I just sampled some light gray. And now that the pictures evened out in the darker grey Tony going here appear at the top of the evil ridge, start highlighting a little bit again. My reference to the right being used as an inspiration. Um, just get it. I got this little dab, Russ, nice and small and just kind of going in there and get a feel for what kind of you gotta highlights what detail I want to put in there right now. I'm working right here around the eye. My, uh, my creature's eyes a little bit more sunken and versus the alligator reference, which is, you know, a little bit more details are a little bit more sticking out, so they're but they're gonna collect a lot more highlights. So I gotta be careful here and just pay attention to, uh, where my highlights would be versus the one in the reference so that at that point, I'm basically just using the photo is a inspiration for the tightness of detail. But I still got to use some analogues of lights and shadows and depth to imagine where light would fall on my creature or so And we were going out here on the snout basically same thing, just kind of trying to pinpoint where the highlights would be and what parts of the detail I really love. How fine and extremely detailed that follow references. And I just want to basically kind of emulate that it's in my own little, uh, well, little character design. here jumping around a bit, trying it, uh, give a little bit of it laid out quicker. This particular video. I just cut this out and I'm time lapsing this one for you and come back. And I'm just basically narrating over top of this specific spot. I spent it up by almost 200%. That way you can see it being done a little bit quicker and not its slow. When I was working out, I was going pretty slow. I'm still uncertain of what kind of detail I want to put down there that want to rush it. I intend to get a little impatient on these, and sometimes you start sloppy and I don't want to that on this one, most of my dragon videos I do get sloppy and details really lose. It's not real great to look at up close. You look at it from a distance, but up close it. You see that? I just could scribble a lot, But I'm here. I want this to be a little bit more of Ah, fine detail study. So trying to pay more attention to these little tiny variations always trying to learn, you know, always trying to train myself, trained my mind's eye to take in all of this detail. Observant. Memorize it for when I create other creatures in the future. This is really good exercise for stuff like that. And I was going in there and lightning up teeth omit and, uh, just know that the smudge tool going to, uh, this point go in there and just kind of smart out someone's detail little bit again. I love using. The smart Tool is a sort off paint tool, raised her tool and now we're back into the brush and they just don't some detail. It got a little bit of sampled the gray from the eye, and I'm using a little bit of that here and there. I'm really jumping her own big time trying to find the sense of direction towards where I'm gonna go next. And, uh, I do jump around a lot. It's a habit because I'm kind of trying to balance out, um, try to balance everything. I'll get a good sense of everything's going so kind of like in my mind, I have putting on these little details and there's little placeholders and I could just imagine the, uh, the extent of the contrast before I even drawn it on there. I just do a little bit of it. I can kind of imagine it done 100% versus the 25% off. Lay down when I was up around you see right here I'm using a big spatter brush with a dodge tool. Set the mid tones. I'm just kind of going in there and scribbling another. You can see it has a nice little effect where, uh, just barely puts a little roughage in there, Can it breaks up the painterly effect. That kind of scratches it up a little. If you will, you can see just little, little, uh, little scratches. It was a little bit more grit, and I'm just jumping around mid tones seeing down here. You can really see it taking place now to see how the little details, um, kind of scratch it in there and just puts a lot of really fine fine details. So it's just a real quick cheat, if you will, to go in there and had that kind of stuff. So switch my brush over the color mode now on a medical ahead and start adding a little bit of some color tones. So sample this green here, and so the background layer and just start collar moting right over it. Important to change your brush to color mode. And remember that you did someone that you change it back later when you knew back in normal mode, with wise, it's, um, unsatisfying results. A little bit of blue mixed in on some green, just some ambiguous background detail again. Maybe this foliage back there on some rocks or some fantasy scene. I just picked this, uh, warm, greatest brown color. I'm going and kind of cooling it back. Basically color mode. Just, um, Max back. I'm side color ball basically just changes the color of the pixels there. They're only works on grayscale, you know, mid tone, mid range tones. Can't call him a black or, you know, absolute black absolute white, because there's nothing there to work with. What color mode basically just color rises, changes the color of anything in a mid range tone. Do a lot of experimenting with it. Say, I'm doing out here. I got the spanner brush and I'm just sampling colors from within. When I hold down the option key or the Elke you just can sample colors and just kind of mix it up a little bit, just dabbing it here in there. Give it a little bit of, ah, a little bit of color here, little color there, but not entirely certain where I'm going with it. So I'm just kind of trying to find the colors I want to use at this point. It's kind of Donald not really feeling it aspires. You know where I want to go. I don't want it to be. This doll saw trying to build it up slowly, cautiously color in the eye there with a really bright, uh, kind of greenish yellow told sample the color underneath it so that I can blended out a little bit more. And now I'm using a kind of a warm What is that like, uh, number number type tone there. And, uh, it's kind of funny. I tried to explain my process technically, and I never went to art school, so this is all very self taught. I don't know all the technical terminology for some of the processes I use. This is all very, uh, very uh, you know, feel oriented. Just kind of feeling my way through it. Self tired me to explain it in technical terms and is the exact terminology that should be used in describing my process. But as you can see, I'm basically experimenting, mixing different colors and so forth just trying to find the base color of this this thing . So, um, a little bit of inspiration taken from the dragon. You can see over there the oranges around the eye, the cooler colors around the rest of the face. And I've got over to the burn tool set to highlights. And I'm just using one of the spatter dad brushes and I'm going in here. I'm creating some of those blotches, a little spotty blotches that you see in the alligators and really like those. I think those little really enhance the dragon to put that kind of detail in there. Some variations in the skin texture and color and whatnot, but those blotches air was a pretty cool. I like that. How sad Nose in there randomly, and I think it's helping it like it's adding a little bit more variation, a little bit of variety in the detail. So put a little bit around the eye here and bring in some of these, uh, bring out some of these values a little bit more to just a little bit bigger and, uh, again using the right left bracket keys. Use the right bracket key this size up your brush left bracket que sais it down and the burn till you know, just darkens your ah, talking to your image, I said. Toe highlights. It just basically kind of darkens everything back. It's almost the same. Is painting with a brush with black slightly? Feels slightly different to me anyway, And, uh, it's going in here and trying to put in some mob. It's nice variations there. Nice groupings of these blotch skin bloods, textures, spots, blotches whenever you want to call them more detail, the better. Like this, this painting really super mega detailed Try to make this hyper realistic as I can. I could probably spend 60 hours on this and push it to absolute photo realism, but the goal is to keep it under several hours, so there's a little bit of that pressure there. I don't wanna work on this thing unrealistically because there's you know, working in the deadline skies. Well, there's only so much time to get something done. So now I'm down here by the the corner of his mouth. Just kind of working in some of that random details. Well, and, you know, you can see I'm working in a kind of a direction curve trying to maintain a curve around there. Keep us, um, dimension in the in the artwork. 9. Real dragon part 5: okay. Continuing on here with the burn tool. We're using it, Teoh, create some of these shapes and blotches. Random details, the reptile skin. And, um, again, we got it set. The highlights could see the settings here. We're working on the head, and, uh, it's doing some more work on the eyebrow ridge up here, putting a little bit more detail. It's a more little spots, skin blotches and whatnot. And right now, the picture illustration as it stands is, you know, kind of flattened a little bit mundane. Needs some vibrancy to it. I'm gonna a little bit here. Do something with the saturation of the color. I want to get all this detail figured out. Um, but you can see I'm using now a debt. One of the dab brushes. At least it's, like a lot of not sure what the name of it would actually be kind of get a little squarish , um, pattern to it. And they just kind of a little bit rough. Switch over now to, uh, soft edged brush. Size it up nice and big. Go in there and, uh, try to get a little bit more evened out tones in the shadows and whatnot and, uh, over the color mode. Now, start messing around a little bit more than color. Some of cooler colors in here so we can do toe try Teoh tone back some of these little splotchy areas here, maybe go up here and switched over the normal mode for a moment on, grab this brush and, uh, sample a little bit of this color hair, this darker tone, maybe some black and, uh, well, I'm a sample. A little bit of the cooler color from the middle of this, uh, blotch area here can pick a nice, cool, dark, dark gray. And I go in here and just see if it can make these pop just a bit more message color just a bit more adjusted. And, uh, you can see how, um, over to the right there. In the reference, um, there's a lot of cooler tones. Um, underneath hair with the the shade, his it's underneath, there, even right down here in this area in the reference photo. And see how it cools down considerably in the cool talons. Er right along sandals. Slightly warmer hues sample that color here. Doing bring it down. There a little bit of warmth reflecting off the ground. I got to see a little bit of that in the top job, the alligator in the reference photo. There's just some very slight variations here. I'm trying to pick up on and try to make them happen to my dragon. But in all honesty, the, um, the photo reference I'm using is just a little too subdued in color, so I need to try to be careful and make a a decent judgment. But, um, make mine pumped up just a bit more, pump up the color. So I'm going in here right now, experimenting with a little bit warmer, you of color under the eye more more than what's in the reference. But it's a, uh, kind of orange, warns tone, and it makes a nice contrast if you can put him up against the cooler blotches on the skin of the animal. So switch back to my black and white swatches here, see if I could make a few modifications in some areas. I got that spatter brush. I like to use so much the since the layers locked and used the brush. Normal modes can up here and work on the edges. Work right up to the edge is if I need to. And it's gonna put some, uh, really light highlights up here. See if I can amp that up a bit. Try to make it his oats catching some good sunshine. He delighted up considerably, though. Um, I look over at the reference. That's pretty bright. Sunny day and the mind still explain. Also, I'm gradually working my way up there. Um, just kind of go up here adding little tiny glistens, light, little bits, pieces of light highlights. All right here between the eyes and, uh, all right, I think what I need to do now. So he switched to black. And that's hard brush. I'm gonna work in his ear. See the little hole behind the eye of the alligator over there, but it's apparently his ear. Well, do something like that for my dragon and that it be loosely based on the alligator, but not gonna place in the exact same place. They do want to put that little cavern area in there, sample some of the color from around there and see that can lighten a little bit of the stops Aiken have the the area around that a little bit more lightened up so I could define that a lot more because it's just a little bit splotchy. So while I'm at it, I'm going down here on the cheek, just adding a little bit of that color in there for a little bit more variety in between, the splotches handle it with more detail. Appear nice and gentle, very easy. Is he going taking my time again? I don't want this to be is rushed looking as my past pieces of him. A little bit of detail down here in the lower job. I will switch over to the burn tool shrink that brushed down a little bit. I was gonna put a little bit of shading here right above the teeth. Been back here at the job for joy area and just kind of soft brush. So I'm just kind of, you know, fanning in a little bit of feathered shading. So there's no so, uh, rigid. And now when I hit ah hue saturation to be command you or control, you and I just turned saturation up. You can see the how it really made the color pop there back into my brush normal mode and, uh, sample some color from over here holding down my option key. It's kind of bring it back here a bit. Mix it up so doesn't so monochromatic. Try to blend in a lot of these different colors together. When you look at that reference, you see, there's a lot of colors have been there, even though one area at first glance, it doesn't look like it. But when you look at it closer, there's a lot of subtle hues that it just kind of in a mixing around each other. We'll save a little color there from above the I. Some of the darker tones kind of make that a little bit more pronounced. Some darker creases in there, more separations between the bits of scales and whatnot. Zoom out here, take a look. What we have so far it looks pretty bizarre. Um, as you can see, I've been working just on one little area, and I did that just to deliberately, um, that's overwhelm myself. This things so full of detail that I really wanted to kind of isolate a part of it and just established the pattern of work that I'm going to give this whole thing so I could work a little bit faster once I have a good feel of it down. So anyway, going in with the brush tool set to normal mode, I sampled some of that warm gray there, and I'm just kind of going into a lot of the same stuff. And it's gonna adding highlights here and there, but a little bit of some highlights around the teeth area again. You see me holding down the see me sampling color when I'm doing home down the cult Option key and my Mac book. Right now, I'm just trying to lighten up teeth, given them some pearly whites. Some people don't like it when I get my dragon such white teeth because he only imagine a dragon both fire out their mouth and the teeth. We wouldn't be so white that probably look more charred. But honestly, I'm doing this just to again break out of the mold of the usual trappings I get into tend to just do the same old, same old on all my pains and, quite honestly, just want experiment a little bit outside the box, trying different, uh, different tones and colors on some of these projects. So fascinating thing about this pieces that's inspired it based on a real animal. So that's Ah, that's kind of new for me. I'm really trying to explore new horizons for improving my art, So that's what I'm trying to do here. But anyway, but some black and, uh, it's kind of going here, put a little bit of a little bit more darkened teeth that looks like maybe, uh, have this brush here and so we could do that dark in this little area. But here it's kind of like a nice sucking in Little Valley and then adjust it with color mode. 10. Real dragon part 6: and here we are zoomed out again, and I'm gonna go in the background here and get this dad brush sized up sample a little bit of that color than I've already laid down. Just kind of spread out a little bit more. Once again, I don't have a particularly specific planned background. This is very ambiguous. I'm just experimenting with tones and colors. I'm trying a lean more towards a realism. I do want my creature to look like he's in the same kind of sunlit outdoor scenery is the alligator. But I'm not gonna, obviously is the same grass. I would, however, like to imitate the tones of values in the lights and shadows letter in that reference. So just kind of laying down a base background here and, uh, have a little bit of this. He always green out of the swatches, go in there and make it a little bit more sporadic just in various areas. I mean picked the stone here political that you see what that looks like Maybe a little bit of some darker ranges right here imagining you know, maybe again, some some mossy rocks are distant mountain. This rocks with some foliage on him. Some kind. Not sure yet, But we'll be working that out. As I zoom, I would get further for their long in this creature switch over to the spatter brush tool, one of the whiter ones. I'm just gonna see what it looks like dabbing in some of this warmer color. Was it Maybe some of the lights? The ambient light is bouncing around. Sample a little bit of the greens and tones from within. What already painted just kind of dancing around a little bit here, experimenting. So back to the head layer a soft brush I got the Dodge Tool set the highlights. I'm going to see what it looks like to, uh and AMP that up a little bit. Maybe about mid tones, even the top. It's kind of lightening up a bit too much. Looking over at the alligator reference, there's some pretty good highlight areas, homes kind of going back and forth between highlights in mid tones here very carefully making adjustments to it Looks like and, uh, back to May brush tool. It's gonna go in here and a little bit more this kind of detail around the nose and left that tip a little blank there, and I look over at the alligator there. Um, see how it's got a nice shiny, uh, highlight right down the middle there. I'm not sure how I'm gonna handle that on the dragon just yet, But first, I need a established the same kind of detail that's on the rest of the snout. I'm just going in here tight and, uh, continued. And hence more texture. Hard to see the a brush. I got really, really small, but right around the nostril area here, it's doing some really fine detail right now. Getting a little bit of some very tiny cracks Still on the tip of the nose. There. What about the teeth lines to separate the teeth from the skin? Punch it a little darker there. Little bit of some variation appear in the very tip. Think so? All right. On a large, enlarging the breasts a little bit. Can a breeze over the teeth looking a little bit unfinished up here right now? Finesse that a little bit later, trying to, uh, lay down a little bit more base work. Since I left that part a little bit blank, I, uh a little spat at one of my favorite those better damn brushes going up here like a nice and big laid out in the dark base. It's more darkness up here. I'm at it jumping around like I usually do. I want to come down and do some of this mouth. Maybe you have called me a pic of the color Swatch. Yeah. Warmer color somewhere in this range down here. Just kind of come in here lightly. Very lightly. A little bit of some pink issues in there. That's the one thing I didn't get a chance to take photos of when I went down to the alligator sinks where they get their mountains, get there, miles, tape shot, and you can see in the photo so they don't have any mishaps. So I'm not afraid to get up close to take pictures. You know, they had to put that little we'll tape around their mouth just for safety. And any time you even open their mouths, they were too far away for me to get a good picture. But, uh, but I could make this up about this. Fake it. I'm just going through here with Dad. Brush and try to find a human. I'm shopping for my Mayhew's right now, not entirely certain what I want to do at the birth of birth. Until there for a second and dark ended back. Come back into the brush jumping around a bit here again, and, uh, it's going to start etching in a little bit of detail there. Um, right along here. Hey, defined this a little bit more. It's a little bit a little bit too loose right now. I need to find a way that make this a little bit more salad, some shopping for a tone from within the mouth. Can you imagine the tongue in here? Uh, need to define this, Make it more salad. It's just a little well to soften how to go in here and sample similarly tones He was ever laid out. And, uh, it's kind of spread that down here a little bit at the layer. Locks on the color doesn't bleed outside the shape, and it struck me brush down Really small left bracket key. This rate the breast down and, um, let's see here. Get some black hair black and white. Swatch go in, start adding some texture on this bottom jaw. I can bring it up to speed with the top job. It's going going here with this. Use the soft brush right now. It's going here and a draw in some detail. This is considerably different than the alligator over there. He's got a more smooth, smooth, the shape John minds. How rigid. So I gotta make this up and try to keep it within the parameters of the light shadow themes going on in the photo like to create some really rough ridges of my dragon Shin's I like to think of, ah, cross between sort of some rough tree bark and reptile skin and, uh or maybe even like rocks, some real jagged rocks, something something like a uh, something that something like that I think of when I'm creating this kind of detail and, uh, want to make sure that the lights shadows air convincing. There's some pretty good spots of reference on the actual photo there. The director of The Phantom of the Alligator. I could get some pretty rough, um, ridges up like on the top of his head behind his eyes. There, something like that. But on the chin of the dragon. That's what I'm imagining and adding some more detail a lot of the same, um, and at this little detail that I did when I worked out the top part of his head there. But I think probably work this little quicker now that I have all the detail above established again. I did that just to give myself a feel for the rest of the dragon's body and proportions. They wanted to lay down the basic mood color, texture said around, and I should be able to move a little bit more relaxed on the rest of detail throughout the picture. So I was pretty nervous doing that first part. Like I said before the the detail, the way I wanted to have it laid out, I just I really wanted to make sure had that realistic feel to it. And, uh, though I'm you know, this isn't too far in the picture. I'm really just getting started. The first part there is kind of like a times. It's like a first hump to get over when you really wanna challenge yourself into new territory. And uh, I can tell you how many pictures I've started not finished just because that first half hour on it or more ends up being really drawl and just lose interest in the picture and just, you know, really inspired any other word block real quick. I'm, uh They switched over to the, uh, price tool, soft edged brush. And I'm just kind of knocking back, though. The weight down there was kind of coloring it in, giving it some tone and some shade a little bit of a grainy and in there. So But yeah, this, uh, this first part of doing any picture, I think I don't know what it's like for other artists, but for me, it's sometimes it can be very technical. And I can lose, um, whose interest in the picture, especially when I'm on a limited time budget, doing the deadline work that I do quite often. I don't have a whole lot of time to do these things in between. And when I do it, when they get started on something and Makesem going the wrong direction and get pretty discouraged fast, just delete the document and close. If you didn't walk away. So for this particular project, that's I felt like that a few times bounce with hits. It's very block. But the part of the challenge is the fact that I got this guy and opposed it. So you know, I'm not action oriented. It just kind of sitting there. So it's a challenge is on me to try to make it look interesting, even though there's no real specific action going on. 11. Real dragon part 7: Okay, look at this. Now I'm thinking that the top part was head with teeth are It's just a little too straight . I'm going to liquefy here, and it brings up a liquefy screen and then make my brush big enough to go in here and just pull that down a little bit, get a little bit of, ah, curve variety. Just look too stiff and straight for me. So I just want to kind of worked this up a little bit. One of the wonderful little blessings working in digital that you can go on and do this so quick. And believe me, I've had my time in on traditional medium and back in the days of acrylics and airbrush. You know, this obviously would take a lot longer, but that being said, this is ah, that was the boot camp. To be able to do this up to your minds, I'd be able to figure this stuff out quicker and digital. So one definitely complements the other, Really? Just kind of work in this around, working around the eye right now on, uh, making sure everything is got a nice shape to it. There you go. You can see what it looks like now compared to what it waas. It's a lot better when the more variety in the curvature of some of the details and structure of his, its face and stuff. So So I'm gonna move on here and to the work with the brush normal mode. And I'm just kind of work on the back of his head here. It needs to be caught up to speeds, obviously lacking all the detail that I have lied down in the first part of his, uh, pace there. So doing so. I have to establish where the little valleys are in the little separations specific sections of detail in around this guy's head. And so I'm gonna go in here and looking over at the Dragon. I mean, I'm sorry. The alligator for reference. You can see what, uh what cool detail there is on the scales right there on the back of his head, just as it starts to go down and become his neck. But use a little bit of that for inspiration to mix it in with ease. Dragon spikes. I'm just gonna kind of have a similar feel. Especially appear in the top where I'm working again. I'm working really small at the brush, so it's hard to see I'm right up here. I'm working on the similar detailed what's on the alligator and pretty much the same spot. So if you look back and forth, you can see hime trying to emulate that. Okay, For this part, we're going to go into time lapse mode again. This is another section where I'm just going for a pretty long time, doing some extremely tedious detail. Basically, it's the brush. He was in black and normal mode. And, um, I noticed that, uh, playing this back at the topic, and I have the picture, um, overlapping with the brush settings on the very top there. So I I did a little edit where I tried to expanded, enlarged and put on the bombers. You can kind of see when I switched my brushes. Um, but pretty much the extent of the information and changes that take place during this tedious part, you'll see that right now I'm working with a soft heads brought, but, uh and I'm doing this This area right here, that's where on the ear. Very similar to over there on the reference, you can see that kind of emulated, same kind of some kind of patterns and kind of detail, and then the rest of this is just kind of making stuff up. I'm just trying to make up random, very random details and scales, and but I'm trying to make sure it looks like it's wrapping around the spikes and, uh, make sure the depth is very prominent in there. I don't want to lose my my realism pattern that I'm trying to stick to by using that photo reference. Sometimes I could get, you know, I can wander off the trail a little bit, start doing my own little painterly techniques. And then you know the contrast between the two different styles. Condemn Finitely, stick out like a sore thumb. So I just want to make sure that these parts that have making up that don't have any referencing that they're following the same skin color texture. And I trust him. What not So anyway, you can see I'm just kind of going down the down the side of the had there, with all the horns and spikes that one, not just balancing it out, trying to bring it out. Bring it up to par with the rest of the detail fitted on the face. Also, you noticed I've begun to use thesis batter brushes here as well. Spatter brush is air good for ruffling up. The texture of it was given it some more variety versus using the soft edged brush on everything. Uh, sometimes it could speed things along a little quicker to if you fan it out, make a little larger size up the brush. Just kinda sketch away. Just keep that rough texture of that reptile skin. So another sign the bottom There, You know, the the brush settings I'm switching up using different spatter brush is and, uh, basically maintaining that rough texture again, sizing it up and down using the right and left bracket keys. Right, Right. Bracket key sizes it up left. Sizes it down on, uh, still going in here and just tryingto lay in those valleys accentuate the the shapes. Um, where the protrude a little bit more versus they sink in, darkened in some of these other areas. And then again, the, uh, the head layers locked Seiken freely paint. But the spatter brush is just switched over to a wider spanner, but you can see to get more rough, grittier texture. And then I just switched back to the smaller one again that there were 14. It's in the because its program but layer locked. I'm able to just paint freely without it going outside the layer, and having the head on a separate layer prepares me for being able to switch to the neck layer underneath, eventually and and manage the contrast of that better for the shading that would be underneath the details of the head. 12. Real dragon part 8: can you make a new layer, my lasso tool? I'm Scott. Draw the shape of a tooth, and I wanna hold down the altar option key. Sample the gray from the tooth above and I just made a new tooth. And now when I copy that and paste it, mess around three, transform command tea and just change the size and shape of it a little. And then I'm just gonna continuously copy the layer and this. Drag it on down, just multiply these teeth, make all rolled teeth just using the same tooth that I just painted, By the way, a quickie method for copy pasting something like this is you can set here tool to the move tool. And if you hold down Ault or option on the Mac, you could just drag Hold on. I'll drag it over. And it'll just copy the object that many times that we don't have to constantly be doing this or, you know, copy layer in the menu drop down. So just a quick tip there for you, moving right along, Um, again, Just copy this teeth and, um, using free transform to kind of change up their sizes, the girls they're not all the same Exact clone. I'm here. I'm just taking a brush tool in trying to paint some on here just to see how they look versus going in there and just copy pasting the same tooth. I do jump around quite a bit messing around different techniques. When I work. I my arm like this. I go in there and, you know, I was experimenting with cloning the tooth. I might feel it's a little too robotic, rude, rigid, too technical. And I'll just stop doing it and start painting it again. You know, I flopped around a bit like that when I'm doing my work. Basically get very uninspired real quick if it becomes too technical on me. So, uh, at this point, I'm just going in and, um, on the tooth player that just manage to merge it down under the head layer. And I'm using the gray that I sampled some of the tones I'm sampling from around the dragon's head and just kinda try to blend it in a little bit more so it doesn't look so flat and cut out, And, uh, these teeth, there's something I'll probably clean up later on. picture. Um, it's more something I would rather I prefer to do towards the end. When I'm finalizing all the detail and trying to even all even out all the tones and the colors, switch over to the Dodge Tool here on site. The highlights just kinda see what this looks like. If I lighten up a little bit of detail, try to get a good feel for this. That's my dragon's mouth is open versus the alligator reference with the closed mouth. The lighting is gonna be a little bit different. I got to explore how the how the details gonna work out. So this is a 10 more of an exploratory process that I'm doing right here. You see, and turning down the exposure a little bit of my Dodge tool set The highlights thinking really blast out some some detail. It's just a little too bright, too strong. And then, using this little spatter, dad, brush that the program that comes with program back to the breast tool and, uh, sampling some of the tones in trying to even out some of these. Some of these details are just a little too bright contrast. Try to find the 25. Basically, what I want to do with this bottom jaw here, a little bit of exploration. Try this wider spatter brush. Maybe, uh, muddle up the detail texture just a little bit more. That's kind of work. And I think you see, that's kind of work right there, giving it Teoh finer detail mixed in with the blotches of the previous stuff. It just laid down and, uh, switch. And now over to these soft edged brush, it's gonna use some black hair. Tolins told some of this down a little bit, just for just for a base piece. They have to go back in with this color here. Uh, color mode, I some big just kind of Bring that. Bring that up to speed with the, uh, the hue that is on the rest of the face. Here, get some this orange, too, and, uh, going there with the burn tool. So then, if I dark in this down, that's a little too much seeing what I see what I laid down here. If you go over to mid tones, I tend to do this. Go back and forest dark, blind, dark light, just trying to find happy medium and, uh, just, you know, this is all pretty much still kind of a base, because I'm going to go over all this to a final detail ing at the end. But I want to make sure I get a lot of Ah, a lot of texture under there. I prefer to hand paint, hold my texture. Alright. Zooming out. Um, see how bizarre it looks just ahead being the only thing That's, uh, this far down to completion. Um, going here now and just kind of go to the, um go. The brush tool said to normal. And I'm a sample the color of the background layer. Make sure I'm out of the background layer. I'm just gonna very loosely totally out the rest of the background. Still not sure at this point what I want to do with the background just kind of try to keep it ambiguous, but little bit exploring my options. Looking for a specific theme where this guy is perched. I got the color picker up to, uh, explore some of the various hues of green, very shades and try to lighten it up a little, cause the dark It's a little too to even with the darkness of his head, not enough of a contrast. So which doesn't always matter, because I tend to, um, add another layer towards the end, and I'll often take a soft edged brush and just put a fine mist between the foreground background layers to make those adjustments. So at this point, most the time, I'm concerned more about the, you know, like the tones in the values of the background and what kind of content is illustrated there. So he's one of those fancy little dab brushes that come with program sized up nice and big . And I'm just trying to trying to find a find some detail that work with this dragon, picturing it a little bit in my hand as I go. I want there to be some blue sky up there, but first I need to lay down some kinda potential fantasy background. Definitely like the greens that air prominent in the alligator reference photos. So I wanna adapt that into my fantasy world here. But instead of grass, some kind of grass, her mossy rocks or something again, still not sure where I'm going with this, this point of the picture, trying to make sure that there's a little bit of a variety that's not so monochromatic. Besides the brush up a bit and sample some of these tones sitting, spread it out, mixed up a bit again. You hold down the old key or the option key. There sample colors from within, your within your painting something I do quite often when I'm working on my stuff. Sighs that brush up again. Maybe pick some Ah, blew down here for the sky. See how this looks kind of loosely rough it in there. Still shopping for my theme kind of figure out where I'm going with this. No. Is the rocks and the trees haven't decided yet. Maybe there's a little bit of, ah, additional a peek sticking up back here. Lots of green. Though I liked the idea that there's a lot agree than their green and blue, it really helps with the daytime daylight theme. I'm trying to, uh, establish here most of my paintings. In the past, I've always had some oranges and just real hot nighttime orange with burning fire and stuff . I want to make this a little bit more natural. Um uh back on the dragon's body later. I'm just trying to imagine maybe there's a rock outcropping in the foreground off camera pills. Um, Tall told rock shapes that casting some shadows on his body. And I'm trying to don't emulate that here. Very loosely sort of Back in the thumbnail moment, if you will, um, again, like I mentioned earlier, working like this, uh, one of the in my opinion, one of the highlights of digital art. It said you, uh, put him in layers. If you do it right there, you could do it safely without going to a point of no turning back. Using these, uh, squares dab brush shapes in the brush menu. Pretty nice, too precise for just going in there and loosely playing down big, random, having details like tones and shadows like this. 13. Real dragon part 9: okay, real quick and time lapse Melody here is going to some quick scribbling with this brush and , um, you know, brush set to normal black and ah, just going in real quick and adding some potential layouts for some skin design like think stripes kind like what you see on the alligator photo reference off to the right on the bottom corner there, but just kind of going over it real quick, sort of thumbnail mode and just kind of planning out where I'm gonna do the what kind of details there. What kind of basic lights and shading and texture I'm gonna have here before I go in and add the absolute tight final detail with all those scales and why not car amounts? I just want to go in here real quick and just gonna lay in a real rough pattern. And right now I'm just kind of scribbling in a couple little tiny details to just cannot figure out what size scales wanna put in there. And one that more or less just a quick go by for me to follow. When I get to this point where I want to add in all the little five little detail like I did on the head. Okay, now we're going to switch to the background and do a little bit of work there, basically going to go ahead and think about fleshing out a little bit more detail, turned down the opacity, but on the brush here and, uh, try to work in some more, some extra ambiguous detail. At this point, I'm not decided Exactly. You know what I want to do yet still, but I do want to kind of toy around with the idea of making some fantasy type detail stuff . It's not that doesn't exist in the real world, so I'm just more or less trying to get some more. It's a little tighter detail going and, uh, stark in a little bit of these green areas here, just running some black over it. At this point, I may even just throw away this background and try something different altogether. But I wanted Teoh. I wanted to see if I can create the uh or intimate type setting around him. Some nearby foliage, Johnson rocks, and one that. But I have an idea, in my mind of a scenario involving some cliffs and mountains. Someone might try this first. If it doesn't work just easy to delete the layer or fill it with white start over. But right now, I got my favorite little, uh, spatter brush shape going. And I'm just going in there and try that. Get a little bit of some random working you can see by how slow I marking. I'm still not entirely sure where I'm going with this, but at this point, you're gonna leave it at that and go to the body layer and, uh, what we're gonna do with the layer locked, we're gonna go in here, just kind of had a little bit of extra black around the edges, just filling in a bit. But when I ultimately want to aim it doing here is, uh, getting rid of all these sketch lines so they can begin to add some new layers of detail. So to do that, I grew up here, Click Filter, Blur and Goshen Blair, and I'm gonna turn the gods and blew up to about right about there. It's the okay that and see how it's all blurred when the layers locked, it just locks inside the shape inside shape by the same thing to the hand layer. And now it's all blurred out. And I can go in there and work I could retain, retained my depth and darkness and shadows and the blotches I put other. But now I'm gonna go there and do the more focused detail in a bit, Zoom in and hair. Just doing some real quick scrim lens to get an idea of the kind of detail I'm gonna be doing in a little bit. So I'm just laying out some quick scribbles to, um, test it out to stop the, uh, lose contrast that I've laid down. But I'm also looking at the, um, spikes and whatnot that are in the top and bottom his neck, and I need to switch over to the smudge tool. Take care those. So I unlocked the layer switch over this smudge tool, and with the hard edge brush sized up, kinda smudge those out a bit. Clean them up. Here's the smudge tool is a eraser slash paintbrush. Um, just kind of paint. Thea paint the shapes out a little bit more, just by loves, pushing them, pushing the pixels outward and erasing them by pushing them away, so you can use the smudge tool to create as well as take away. If you use the right way, as I'm doing down here, you see, it just kind of change shape of some of these little pointy little details down here. Basically, evening it up a little bit. I'll get rid of some of the looseness of the scribbles. Let not put it down there. But, uh, even out this detail bit make a little bit more consistent for I have to re lock the layer and I go back in and start drawing with a brush again. Want to fix this area down here? Fix this whole area where hearings that little lines to canal Take care of that. It's kind of push it away, pull some more pulling you one out there and, uh, sighs the brush up just a bit there and just kind of clean up this little part down here as well. Okay, kind of that little pointing spot. Maybe just kind of push a little bit of detail around inside the neck here. What kind of results that gives me. And then we're ready. Do switch back over to the breast tool. With that, I'm going here. It's really hard to see where I'm doing it, but I'm going right here behind the thorns in the head. And I'm just starting to build in a little bit of some scale detail in there. A little bit of rough texture. And I'm just gonna draw this out from behind there. Just continue to add a lot more, uh, rough scale texture on his neck. It's more of that same tedious process, but I gotta pretty good go by to follow their with the detail and it on the head. I got a nice zoomed in close up off to the right there of the alligator skin texture in the photograph just to inspire me as they move along myself. An idea of what kind of, uh, directional lines and scribbles I could put on here. So I'm kind of inspired by the lines you can see right about here, starting experiment with putting those same textures over here, and the lines, the creases, wrinkles in the skin and what not just kind of cross over each other and create this interesting pattern right here. So I'm just trying mimic that a bit. I jump over here and then a little bit of details. Well, okay, real quick. Um, I was looking at this, and there's noticing this spike or horn or whatever you wanna call it is a little weird. Shape some of fix it, circle it with my lasso tool cut and paste it into its own new layer. Okay, we just take the free transform, stretch it out a little bit, maybe grab the corner, hold down control, and then skewered a bit. Okay? Place it right about there's pull the corner a little bit more. It returned. And now I'm just going to use the last little and trim a little bit of this offer by selecting it and getting delete. Copy this and then, uh, Jack the copy behind the heads. I can use it as the horn spike on the other side. We'll just free transform that to fit and merge them together. And there we go. Ready to continue detail in here? Okay, we're gonna open up the color picker. What kind of a grayish blue color here in the middle of the swatch and go up here. Make sure that the layers locked and it was good color a little bit on his nose. Experiment with putting some cooler colors up there may be reflecting some sky. Um, probably also mentioned that I closed the alligator reference pictures for a little bit, Um, trying to a little bit of my own experimentation. See what I come up with, and then we'll use the spatter brush here. Try to blend in a little bit of that cool color on the sides. Bring it down, blended a little thinking that the, uh would be a line that separates it from a a nice, yellowish orange tone that's closer to the teeth. The top could be kind of, ah, more bluish skin color. So the reason I want to close the alligator picture wanted to give myself a little bit of, ah, a little bit of some room to play because some of the detail and that was making me get hung up too much on exact colors that were There's I need the hated to close the reference . I didn't get to married to the precise tones and colors that were in that the photos. So I'm trying to see this with a fresh view right now I'm just going right now on mixing in little bits of that bluish blues gray color can a spotlight here and there. I'm picturing it being a nice contrast between the blue gray and the L A orange. It's a little bit down here in the bottom jaw. Strength of breast down a little bit, left bracket key and over Teoh color mode. Maybe switch the brush over to the blue. I'm sorry, soft edged brush, and it's kind of jumping around a bit here, kind of dust and over it a little bit. Try to blend in a bit, see how that works. Hold down the altar option key. Their sample. A little bit of an orange tryto reestablish the yellow orange in a few spots here and them pick a little bit of tone a little bit of color from the swatch. There. Late horn. He's my lasso tool. Cut and paste the bottom. Jonah. New layers just started a little bit more. Make the mouth like more, more open, wide, whiter. Holding down the control Command E. And, uh, that helps the skew it when you got free transform happening and he's in the, um, it's much told the blind me image into the closing the gap there. Oops. Gotta unlock that layer and, uh, smudge it back down. 14. Real dragon part 10: okay. Doing a little bit more smudging here. Just a little bit of cleanup, and then we'll go back over to repress tool, switched black and just kind of go in here. Go back to normal mode. Of course. Well, here. Just kind of draw a little dark area stuck in that back down a little bit. Zoom in and, uh, figure out what to do next. Here, Let's switch over to the burn tool and go in the shadows. Just see if I can dark and a little bit of the, uh, a little bit. A little bit more of the darker areas deep in the shading and some of the dark lines in there. See what that does? I go in there, make these a little bit more bold. Not sure if it's working, though. Switch over to the, uh, larger soft brush and then a little bit more smudge tool here on the side of the mouth In that up a bit. Then back in new brush mode. Locked layer going here in Just soften up a little bit of this. Great. Down here. Have you picked, uh, little bit of the light orange? How the color palette. I just came along. Edges here at this point, just tryingto balance it out. I get a feel for where I want to go with it. The best beggar and, uh, what that looks like skim it just a little bit. Maybe there's possibly some warm light reflecting from the ground. See what that looks like? Maybe a little bit of this, like green tone in there. All right. Switching over to the Dodge till now, said the highlights. It's gonna kind of lighten this up a bit Here. Nice big round, soft brush, zoom outs. Wouldn't get a distant view of it. See what it looks like. And, uh, make it look like some sun lights. Really hitting the detail that I just laid down back to the burn tool Said it. Teoh highlights Gonna kill back some of this. I think I just did. Maybe. Maybe it's a little too bright skimming that a little bit with the Dodge. I'm sorry with the brush tool. Now turn the capacity back up and get back into the body layer, and then I'm going to resume drawing in this detail back to the, uh, less fun stuff. Very tedious. And as I said earlier, my older dragon paintings I would just go crazy, random, and scribble it out so fast that it wasn't based on any kind of accurate photo. Real detail. So for here, this is to do in this one. It's pretty, uh, pretty tedious. It's kind of going here. Emulate a little bit more of that detail, fill it in there, giving a little bit of an impression of some, uh, rolls or ripples in this skin there. And I'm definitely trying to maintain a contour because his body is turned away from us. But his neck is swerve around towards us, giving us a profile shot of his head. I don't want to lose that illusion from the perspective and, uh, jump around a bit. Here. See, I just kind of jumped over into this other area. Just can't get myself a little bit of variety. Keeps it interesting. I just kind of work from that point back to where I left off in the detail, filling it in there. Okay, there's a section done. No, I worked backwards times. I work back towards the body, maybe some slightly larger scales here 15. Real dragon part 11: continuing on with filling in some of this detail, trying to put detail on top of the detail brushes, uh, normal mode. One of those little dab brushes. Okay, just 10. A overlay the detail of it, more filling this little area here on, then. A minute here, I'm gonna switch over to something else. Keep it interesting, Phyllis. And just a little bit over here first. What color this neck, though? Scared of a little bit more detail here in the middle. It's a little bit more random cracks and creases here and there. Okay, go over to the, uh, God's tool. And now, back to the brush tool and color mode. A bit of that coolness in there. The normal mode. Sample some of that tone there. And you can probably tell it narrating this particular piece in time lapse and, uh, go in here just kind of dark and back. Some of the areas we get back some of those dr splotchy areas. Right now, it's a little bit flat and have to try toe this point buildup. Um, build up some of the same tones I have over there. You can see I'm putting some speckles in their from some highlight areas with speckles of warm, warm gray, almost light orange sampling pulling down the all option key sampling colors from the face . As I mentioned earlier, it's really helpful toe. Just hold down that old key or the option key on the Mac and just sample those colors from within your illustrations. You can keep consistent, um, a variety of colors that blended, well, each other. At this point. You see, I'm basically trying to balance out the Hughes and colors on his neck. It's still looking very flat and very illustrated. Nothing at all. Like the face I'm zooming in and out and you can tell I'm kind of getting a little antsy with it, wanting it to get where I wanted to be faster. Isn't that right? And left bracket key The size the brush up and down burn till happening here, set the highlights in that happy medium tone looks like does it back to, um, Russian normal mode. Having a little bit more cracks and valleys in there and just tryingto fill it in places to live. Kind of left the details a little bit scribbling. Make the detail of the scales a little bit more pronounced. Try to catch up with the texture and realism I have in the face working at the base of the neck, if you can see it again. The curse was really small when I'm working this kind of detail. Another reason. The time lapse of a little bit. Seacon. See the Lions happening faster. And if anybody finds us going to quick and that's a little too ambiguous in any questions, please re talked me through the proper channels, let me know, given the time called any clarification on what's happening in some of these places. Um, this tutorial is pretty much a mix of real time and time lapse, and some of it is me recording, talking while in painting and in other parts of me going back and editing over try to keep it consistent, but it can be difficult sometimes. So again, if you, uh, have any questions, feel free to reach out, we'll be adding things to these videos is ago have, ah, pretty tall list of requested things that my dragon for my dragon to toys that people want to see. There's gonna be a PDS added as time goes on, so feel free to request any further information that you may want to see. I will be adding them little addendums to this tutorial, which, if you purchased it, obviously you get access to anything. It's added afterwards after you purchased it for free. So but yes, if you come up with anything, any suggestions or any, any clarifications you think I should make, whether it's on a Pdf or Dende Um, video end of this, please let me know really want to make the drag a tutorial, a very strong priority, because that said, I think that's my most popular illustration work that I've done in the last 15 years ourselves. I really wanna when we want to add a lot to this. Anyway, as I'm sitting here talking babble natural filling in that remainder, I am detail on the scales on the arm. There more tedious stuff, filling it in 16. Real dragon part 12: still a little bit more to go get a little scribbling at this point. Tell the impatience coming into player. I definitely get impatient on my heart Like I got my, uh, spatter brush shows up in the brush palette of, uh, photo shop 2017 and older. Aversions shows up is 14 in the US in their in their default breast menu, and that's my favorite favorite brush to use. I haven't seen it yet in Total Shop 2018 but I haven't delved too much into that version just yet. I stuff to explore that one at some requests out there for people asking me about 2018. Uh, I haven't really had a chance to delve into it yet, so I see there's a lot of interesting new stuff in there, But, uh, yeah, I'm using my favorite little spatter brush here, and I'm just kind of trying to vary up the detail. It's what I like. These little spatter brush is they seem heavy. Does little random, um, kind of brush tip spatter barks on it. Really, It helps to, um, really flare out the texture spreading out of it. So it's not just a scribbled line drawing. Is it some good grit and see right here? I'm only down the option or alter key, grabbing some of the mid to darker range blues. And I'm gonna I paid them, like right in the center of some of the main scales. Have a nice affect that's helping bring it back into more more realism, technique. Getting it away from that flat illustrated book going here and just kinda scribbled the darker spots. See how and between them you get the lighter color separating them. But it looks really nice. Looks pretty good. Very dark, though there's gonna be a need to be a considerable model lightning on this late that up a lot. Sample a little bit darker. Bring it down here on going color mode for a minute. Sample some of this, uh, light brown CNN type hue and offset the blue by doing the contrast ing warm color. In between it. Dodge tool set the mid tones like that up. Um, it's pretty heavy in the dark ST. The breast down kind of whispered in there and bounce out a little bit more. Attend a work from dark to light pretty often on these types of creatures. We're back in the normal mode. A bit of weight going on have some highlights, since this is the, uh, turning point where the creatures base of the pictures neck starts to turn and you got imagine there's some, uh, that be some pretty intense highlights bouncing off this, the lighting on this part of his shoulder and his arm and stuff. So you gotta work that in there. So I'm using a little bit of white. Hopefully again. You can see it working pretty small. Got the video, sped up a little bit. So hopefully see those little tiny details happening a little quicker. Well played. Not too fast. You get an idea of the sense of rhythm I draw with, but, uh, a little bit of with the high points capitalize on the curvature of each. Even every individual little bump will scale. It was gonna be a little piece of it that catches the highest point of highlights appeared by the bay slowing. Now I am experiencing with varieties where you can see some of the highlights shining even in the little crevices between me around his scale shapes that, uh I don't think that when I was studying the alligator Pictures help. It isn't exactly the same pattern of highlighting. I'm on all the different scales as they turn and curved, well, crevices between catch the light to in certain areas and come over here to the shoulder area bit by bit. We're bringing it back. We're bringing it out big closer towards the goal of realism trying to strive for. Here we get down here in the little forearm area that could make some adjustments had zoomed out. There were quick to see the cut off for a second there for the the painting stops that dodge tool happened in here. Highlights. Lightning it up considerably now, Really weird with that incomplete hand sticking out from there, and it's a little bit of smudge to election here, trying to blend it up a little bit. Knock back some of these heavy lines sketch lines that are in there, blend in a few spots here and there. Burn tool the tones 17. Real dragon part 13: all right, here we are, zoomed out. You can see where I worked, right? All the way up to the edge, there of where it was zoomed in. And it looks kind of funny. So we're going there with the brush tool that will his dad brushes dab d a b, Dad brush. Can't remember where I got the name of that. I think that's what they're called. What I call him, it looks like a dab of ah, as it responds. Air squares, brush. Am I going in with the brush tool set to normal moan trying to fill in these areas on the his arm, their upper arm, upper right arm and, uh, still time lapsing it a bit here. I'm actually going back and talking over the video. Um, sped up just a bit. We're doing it like that. Talking is if I'm doing it. Um, but I already did it. It's also weird watching myself work. That is something I'm not used to because I don't usually watch my own videos, videos I put up on YouTube over the years. I don't watch him. I make him, I put him up. If I had excruciating watch myself work. I'm just a zai. Find it excruciating to look at my work, especially if I've done a fully painted comic book or anything like that. I can't stand looking at its time. We had anything published are, uh, comic book company had me do some work. I just I never wanted to flip through it. I would weirded me out too much. I felt like I would see every single mistake and they start panicking. They don't know when I do would put some crap out. Those people are going to see that I suck, But, uh, I don't really like looking at my own work. And, uh, so doing these tutorial videos is really bizarre. You can see up here. I'm working on his on the side of him, doing little lines up and down and around no criss crossing some lines on his leg. Some detail I memorized from looking at the alligator picture. Tom's trying to lay the contour down to show myself where the the roundness of the counter of the roundness of his, you know, his thigh. It's lower leg here. Try to make sure that I got it sketched in there with lions first, so that when I follow my own, drawing my own lines, too, filling it with all those colors and highlights that hopefully clearly see. But that's the direction to go in and then see when you go into your criss cross the lines like that going between the little areas you made and little round areas and emphasized that scales it's been doing there it is a nice effect. This will let your palate on the way and that hand I'm here and then back up here to the thigh gonna appear at the top of the thigh, going back into the body, uh, getting away with the brush, some black Carl mode, and I'm starting to crisscross. And there are little lines between the rows of vertical lines that put on his side there, his torso founded in pretty quickly. Here, land on that base based detail appear in the wing. More of that crisscross creasing with some, uh, now some hefty scaling on me on a limb. It's a win base. It's always hard. Teoh. Try to think of the terminology of these things. I'm as I'm going cannot lose it a little bit. I'm very visible, Not very technical, everything. Toby's visual better showing it in drawings and then in words. But, um, like I said, before anybody gets any questions or hang ups on anything, I say it's and the sand Mando a message and through the proper channels will definitely address it. It's going in here and crisscrossing in various areas, trying to get those lower areas a little values and what not, Um, besides a little bit more at my favorite most batter rush happening here and enlarged the brush a little bit, kind of coloring around the A little ridges between these scales to try to give him a little bit more depth to give some dimension. They're protruding out a bit. It's, uh, seem to be working and split right along on the seven. So the bottom part of his by here so it's gonna wrap around probably considerably dark. Once I moved further long and there's a little crease where his leg men's. It's a little dip right here. A little tiny dip the muscles and whatnot inside his leg and try to make sure that that's emphasizes. I do. They were kind of later and add more color tones on moving down to the lower leg here just again, trying to fill in a little bit of feathered radiance texture between the right on top of the lines. Really, so that it will give the illusion that the the center part between those lines and raised up a little like scales that little crease with leg bands. Make sure that's got some big contour that end up here a little bit. Morte teest Work on, uh, years and years of just doodling with pencils or ballpoint pens. This kind of texture down these things for so many years between doing these creatures and wear wolves doing wisps of hair or once of scales, it has been something I, uh, had fun relaxing, doodling. Okay, feeling that in a little bit more. They're still with the spatter brush little separating line there between the arm and the leg. Make sure that's really pronounced darkening down that darkening that down considerably, a little bit more air, and then I'm gonna switch over toe a bigger spatter brush. Try a little bit of, uh, various texture hair like make this spatter brush nice and big, just very, very lightly scraping it on the tablet. Go in there and you can see it's doing some, uh, very fine detail. It's just kind of scratching in these little random, smaller, later details. You look really closely and see that, especially if they're in the wing having a lot more finer grit. Um, I love to have grit and my art, but I have phobia of my work looking to painted or airbrushed back in the airbrush days and then like that at all. We're going on the left hand, Same things. You have put a nice little grid on there. Yeah, back in their birthdays. Even though I was using airbrush, I still didn't want it to look airbrushed. There was just something about the quality of an airbrush painting without any texture and just seem cheap. And I had my share of, uh, cheap rustic and paintings back in the early days, so I don't like it to be to smooth at all like an airbrush. Even when I don't have great that I painted in there. I'll usually add noise and follow shop. So just to, uh, just to clear out any smoothness that's just overly smooth going in and drawing detail in the hand right now on the fingers. And, uh, it's film that in, uh, finally getting that done. It's been sitting there unfinished, while the rest of its been getting detailed bad habit of mine well enough, It's bad, but it's a habit. I always jump around my paintings and enjoy some peace somewhere. But I leave unfinished and I just moved. I just merged the body in the left hand together. So they're one layer now, getting closer to my normal formula off two layers only foreground in the background Got the blue sampled from the dragon color moting it and also this warmer color. I'm able to actually move a little bit quicker out this now that I've got a good sense of huddling this stuff down. So that really kind of paid off than I did the worked on the head in the face first, at least for this particular piece. I was really, really worried about spending too much time on the whole body and doing it all one way, and then did not being right than redoing it through your four more rounds. I've done that before, so I knew that this being a slightly different direction for me. Be a lot safer and wiser just to zoom in on the head as I did in the beginning and get that close to finish and then work back to work out from there. And, uh and it definitely worked out because, like, I couldn't see doing that to the whole body and doing all this detail so tediously over and over again. All right, I got the lasso tool selected here, and I'm just kind of circling an area where I'm thinking that sunlight would be hitting some que for quick mask and then blur that with God's and blur right about there. Now we go to the Dodge Tool, enlarge it, really paying nice soft brush and just kind of lighten up those edges there. See how that works for us. Maybe a little bit of the mid tones to and, uh, try to make sure that it's right were the sunlight would be cutting it the most. Be right in that shoulder area just before his neck starts to turn. Going back with the burn tool set the shadows to bring out a little bit more, and, uh, and now we're going to through the same process for the back hair. Like, you know, there's something in the foreground off camera that's causing a shadow to be cast out him that will help the realism dodge tool set the highlights just kind of bowling out the higher areas right now. And that's really blue. So I have to go in there and retouched that a little bit at the big spatter brush there. Neutralize that, blew a bit, sample some of the warm colors from the front of them and bring that back warming up a little bit there and it's coming together started. Get a nice feel for the for the realism of this outdoor shot. And, of course, the background still needs work. Okay, going the pondering, the next to layer. You can see me, however, number total, but trying to figure out what I'm gonna get next back into the brush tool hair sampling some colors from the, uh, other areas of the illustration and, uh, coming down to the color swatches to so we can get out of there. Some of the blues there, we'll lose some spots in there, looks like actually dissolve instead of normal I do that all the time, drives me nuts working too fast. It's gonna use this smudge tool to shake that dissolve texture out of there. But, yeah, I do that all the time. I'm blowing through some deadlines and go from color model to normal, and I don't quite click normal thing under it, which is dissolved. But that's another thing you can use the smudge tool for you can just kind of jiggle jiggle it out of there. So I got a, uh, later toned blues gray like gray. And I'm just trying at this point, consider whether or not the sky blue sky up there between the wings would reflect and in any sense, manner is what I'm doing right there. So one of the at this point, I'm at the point where I can comfortably experiment. I'm getting more confident in the piece and feel good about it, So I'm able to make those little experiments 18. Real dragon part 14: OK, moving right along still in brush mode. And, uh, we got set to normal mode. Is he one of those dab brushes right now? And we're going in here on the leg, upper leg, thigh area, and see me right on the just before the crease. Where is as our begins, I'm doing some, uh, some attempted ambient light messing around different colors to see if I can figure out some potential ambient light treatments to keep it from being too monochromatic. And hopefully you can see working just now. See where I just had the option. Ault. That's about where I'm working. Working up and down the high there and now going in and adding a little bit of dark in the lower areas Touch and go at this point on certain kinds of detail. Just kind of give and take, I guess not. Touch and go give and take. I meant to say they're the laying down some dark and then lightening up, laying down more dark lightning up and this even get confident in the paint. The peace at this point. See if I could figure out a talk here, even though I'm confident in the peace at this point, Um, it does get a little monotonous, staying at the same painting for that too long of a time. I know that when I work in storyboards doing presentation boards for advertising clients, if it's a big, big project and there's, you know, up to four spots for boards would think maybe 24 pieces each. Um, that that starts to wear on my eyes after a while. That's where. On the mind's eye, if you will, I start to really Kenna. Get tired. Your brain gets tired from working the same quality and pattern of detail on so many sequences pieces apart. So that's another good reason to sit do these pieces. Not only does it give you an outlet to blow off some steam between deadlines, but also strengthens you for those deadlines and uh, definitely will help you get done faster, too. Do enough of these things. You pick up so many little new things and details you can add to your arsenal in your brain . When you go to knock out those fast, high speed deadlines, we'll definitely get home quicker and less painful. It's been my experience over the years, anyway, to a lot of I work in advertising. Tons of storyboards, spots for TV commercials and a Matics and a lot of photo realism. Illustration work sometimes in retouching, and there's just a huge gamut of different kinds of work. They do my day job, and it's really necessary to do these pieces in between. It's also another isn't I'm trying to do a more realistic dragon. I'm venturing into a lot of other different territories where this kind of work needs to be closer to home in the realism department, especially for commercial art. And, uh, I need to be a little a little bit more on top of high handle, certain made up realism want keep realism in this. My fantasy pieces, if I can and, uh, tried toe reach another level. Plus, I've been messing around with a lot of cross over three D animation hybrids, if any. If he went out there was watching. This follows my YouTube channel. You'll see may experimental animation clips or have animated, uh, creatures and wear wolves and even people. And a 2.5 d fashion where it's somewhat mimics what three d kind of does but more or less is capitalizing on a, uh, illustrative look, and it's something that seems to be coming up a lot more and more these days in my work. So I'm trying to get this particular style of illustration to be a little bit more closer to that kind of work so that I can cross over and do this kind of work on UV maps, certain texture maps that go on to an actual three D model, even though it's more of a 2.5 d really a two d painting that's mental. It's trying to look three d ish for me. It's ah, I always try to do him so that the, uh, animated paintings still look like flat paintings. I like to retain the integrity of a painted piece, so that's, uh, a lot of a lot of value and Mary and doing these kinds of exercises more so than most people will give credit to who has outside of this kind of work. Even when I was, uh, younger and I would start paying stuff like this, I got a lot of flak. Why are you doing that? That's not gonna make any money. There's no money in that. But there is. There's money in this. It leads you something else. It always does. And, uh, I've done some early work that was really ridiculed and criticised by even people in family circles of friends. And then what do you doing that for? And ultimately, that was very pieces that they were questioning ended up leading to bigger, bigger jobs that I've been able to work out in the past several years. And, uh, it was all because of those first pieces Caught the eye of someone who was interested in that kind of thing. Anyway, I hopefully, uh my babbling isn't taking it too far away from what's going on in the painting, but there's slow, monotonous detail work I'm doing here. You can see him over here in the I'm in the thigh area right now doing some really small specks of white. I actually like great adding a little specks of highlights. And what? And, uh, I'm back on the back on the right arm right farm jumping around again, which I'm sure is not helping for this particular piece because it is very hard to see what I am doing. That's one good thing about time lapse really fast. As you can see the detail happening, that was pretty quick. Right now I'm on the finger of the left hand doing some detail on there, and, uh, you'd see that sample the, uh, piece of color on there. I'm on the actually palm of the hand doing some ambient warm light. And, uh, I'm moving around doing these little things. I'm using the Dodge till now. Lighten up a few things here, there burn tools that shadows to bring out the dark on here in this little area. Darken it down in this back. Make this up here. Maybe it's too dark, but we'll see. Still, at this point, I'm satisfied with the status of the painting. It's, you know, it's gratifying to see it be to come along this far. Okay? I'm in a time lapse this big section right here because clearly the the detail that I'm doing here's we're here to watch her to see, so you can see a little bit better now that's going faster down there by the knee, just going in and, uh, heading in some variations and use and colors throughout his body. I'm just jumping around considerably, trying to find colors. And Hughes, When you see that circle flash on there, that's me sampling holding down the option. Old Kate just kind of jump in our own and bounce it all out. It's a mish mosh of all kinds of different colors and textures here, and I was trying jump around real quick and balance it all out. That's something that's usually hard for me to talk through while I'm doing it. Because thinking so hard about you know how to get there. Be very distracted. Uh, think the viewers would be very distracted. Maybe I'll try this. Wait, no, no, no. I'm not gonna I think I'll put this car. No, no, Let me go. You just not gonna not gonna work that way. Time lapse it here for you and just take it through it. But you can see the brush settings as they're happening up top there. And, uh, you see where I'm added a bit of quite a few little spots. Still, putting it up there have a warmer gray is tone and that makes that in there to give it make it look a little less monochromatic in some of the shaded areas Spirit meeting with the ambient light How it might interact with some of these different areas of scales and what not So a pair of the wing there remember this much to election unlocked the layer to do that. Ruffin those edges under the wing there and then appear to listen a little bit of a mess. Zoom out, CIA on their view of it. All right, back to real time mode. We're gonna go in the background layer here, and I mess around with that a bit. I see this spatter brush toe sized up and when in dark, in some more areas still exploring, trying to find that a happy medium from what the backgrounds of the place own it and trying to put the right hue and tone behind the for the edges of the dragon are imagining that there's maybe a ground down there in the bottom, catching some, you know, some of the daylight sun rays and, uh, trying to pick what I'm gonna do next. Um burn tool sad. Does ice large brush starting back. See if that works. Maybe a little too dark and turn the saturation up. See what that looks like. Still, at this point, that certain this a, uh, good enough background. The use doesn't really detract from the dragon. Too dark, too muddy. Um, like it needs to be more airy, Misty, something. But looking at it right now, it's just not. Doesn't look desirable, really, Really takes away from all that work on the during. And so at this point, you see, I'm basically just going through with the Dodge Tool and trying to find possible ways of saving it. Turn the light up certain areas. But each little thing I'm doing here still looks a little too busy and is not complimenting the dragon whatsoever, so just, you know, going in with some more attempts to add other detail. 19. Real dragon part 15: and continuing on that background, it's, uh, this point. Techs have big mess. So some last ditch attempts to rescue it to make it look like something salvageable, the Dodge tool lightening up. And it's still just very noisy mess. That's not what I desire for this particular composition of the dragon. This would be something for more like a Marcy Swamp beast of some kind splashing to, ah, the old bog. But, uh, yeah, this is, uh, getting messier as I go and see it's it's not good. So at this point, next thing to do is to try to find a misty type color, but back there and just to, um, separate the foreground creature from the background. So turning off the layer, going back in right now and just kind of simplify that background a little bit. I do have the mist. Separately, I created the layer above the background land. That's where I'm adding any additional detail, just a temporary temporary layer. Just try to find some various things I can put in there and try to neutralize the color a little bit here with color mode on the actual background layer, and the dragon was a different color. This might work different kind of creature, but for this particular fellow theme, it's just not working. So I'm gonna go up to the filter and click Goshen Blair and then blur this out just to take one last look. A ambiguous representation of those colors and tones and, uh, do the same thing that Dustin scratches real quick. Just a quick peek at, uh, if I was to just distorted and then see if there's anything any other themes that come to mind just looking at the blurred, distorted version before I fill the layer and start over on it. Copy that, and, uh, at 10 sharp masking to see what that does. I did these little experiments to see if I can find something that sticks out gives me an idea. So far, seeing none looks like it doesn't look good. So it's got experiment with a couple more things here and, uh, for rule it out completely. Let's round two different layers and so Yep, so I'm just copy the Slayer. Pick a color, say that it, Phil. Now it's just a one tone there. Turn off that layer one up there and now it's time to build having background. So we picked a sky color and we will fill it with that. Okay. And then because, uh, texture, brush and, uh, different color in a separate layer layer to their own, see its to put the sky layer. They're paying in an indication of some hills or mountains, something a little bit more simple on more wide open than what What I was doing before indicate that in there, like so fill that in and, uh maybe, uh, excrement. Normal mold, maybe darken it a little bit. Here, experiment with the potential mountains that are covered with trees first, see how that looks. Had a bunch of pictures I was going through that took I'm driving through West Virginia and then through Virginia. And they treat covered mountains. They have their that was looked at those and between earlier versions of this video, considering it as a possibility, but then also considering a mountains that are more rocky looking. But don't try this one first. See how it looks. I keep sampling some Hughes from within the image just to blend them together for centuries and down a bit. Sample a little bit of Samad darker blue ongoing, another layer behind that Greenmount layer and just kind of to a distant indication of some other mountains. A little bit lighter colored from the atmosphere from the distance. And it's kind of using this for a little brush. Here does kind of leave that in there, like so back to the foreground. Mountains sampled a little bit of some color from the wings there. It's kind of putting in a little bit of variables. Variations in the chunks of trees went out to be there. Turn on the levels here, command Alfred Levels. Lighten it up quite a bit on back again to the other mountain layer, jumping back and forth training, uh, get it to a nice happy medium is in the burn tool set shadows and then burned to such shadows on the background. There. Background mountains Ongoing. A new layer here that do there. Just start drawing some foreground rocks. Maybe he's on the edge of a rocky cliff that these are gonna be a little bit more kind of a warm, no warm Hugh. Some light Tanis colored rocks sample a little bit of color there from his neck. Make it less monochromatic. Lock the layer and then go in there. But the spatter brush. Try to put in a little bit of detail, scribble in some really rough, rugged rock texture in there, beloved Over here in the middle. Try to make some nice little cracks. More detail about her, obviously, since Dracula so detailed and a bit of ah, cooler gray here, using just black paint over the shackled side of the rocks cools it down a bit. ST the brush down little small and then in the foreground mountain lair. Sample a little bit of that color from the rocks and see if I can make it. Could be a little bit more of a cliffside with some warmer colored rocks on there, just going in there and scribbling vertically up and down. Try to imagine e steep rock face cliff from the side of this mountain and, uh, but when there was a little bit of white right now, to some indications of maybe some ledges there roughly then real quick that a little bit of sample of color from his chin with the white just come put some little variations there, saturate it real quick just to see if it's, ah viable option. That about doing it. Black white, first color moting it, but just gonna go ahead with the regular color build all this up. I definitely think this scenario is gonna work out a lot better than the previous background. That ahead, Um, some with the background elements being a little further away, it will help meet a really center the dragon a little bit more, making the main focus. All right, now, just doing a little bit of color. Bone de saturating with black, back and back, the green and the brown, uh, getting rid of a lot of them. Kind of changing it as I go, deciding not to make it all green and mostly trees, but rather mostly rocks. But I want to put, uh, I'm gonna go ahead and put a little bit more foliage back in there using the smudge tool right now to try toe, break up a little bit of my paint strokes make him a little bit more rigid. Brown a bit. See if I could just make various little ridges of rock formations. I'm going up now vertically. This is a good use for the smudge tool right here. You know what I'm using? Their hard round, uh, brush on the smudge tool just really kind of emphasised. The the rock like structures that I'm trying to put in here. Spread that out a little bit. Tryingto use the smudge told, indicate a little bit of some some of the deeper crevices at the same time. I use it to spread out a little bit of the lighter color, make pledges and whatnot. Go back to color mode right now, Sampling a little bit of tone from his face. Put a little bit of some of the cooler gray and they went back to color back to normal model. Quick, Go in there and just put it a little bit of the great cool grey in there. And now, just getting a little bit of some green tryingto put a little bit of some fully a Jensen. These little ledge areas in here just kind of indicate little places here and there, but it might be some little shrubs or bushes or small trees sitting on these ledges make a little bit more interesting and they appear the top. They'll obviously be some trees go up to the edge of the cliff. Smudge tool is really good for that. I'm sorry. The spatter tells really good for that little distant indications of trees and leaves. I'll have to go in and, you know, work. I love it closer in a bit, but to, uh, quickly put these details down. This 14 spatter brush tool, uh, spatter brush works really good. Just kind of jumping around here, putting little indications here and there. Some of them trees and bushes jump up here at the top of that. A little bit more really darker green happening right now. And we need to add a little bit more over here as well. Coming together, though this is definitely a lot more desirable. Background could have lightened up considerably just to make the daylight sunlight matched the foreground elements and then maybe a little bit here, the far distant mountains. Just slight indication some trees 20. Real dragon part 16: okay, continuing on this time, I'm narrating over some time lapse footage. We're going here and, uh, in the distance of the distant mountains. There I had some highlight details and heads a little bit of but more texture on those most distant mountains. There, you see, they how that works out really well and then we're back to our foreground. Mountains is in white going there. Just add a smaller detail with the spatter brush will find little ridges jumping around here very quickly. Putting those in there. It's, uh, really starting to pop a little bit better. More detail over here. How he switched to Black had some deeper, darker crevices in there to get offset. The lighter color. A little bit more contrast when the war crisp texture just drawn in a whole ton A little little small, very fine Cracks Crevices the amp up detail considerably again using that number 14 spatter brush Small spatter brush brush set to, uh, normal moaned and black. It's made it a little bit bigger, according to trainer, add in a little bit of shading the trees. Now we're working with a little bit of white slowly, kind of bringing this out, making it brighter. They layer on, um, bits of fine detail, a little bit of detail over here on the edge. Put some more rocks sticking out of the trees and, uh, just a few more ridges. Smart cracks in the horizontal lines. Swell. So it isn't all just vertical little horizontal ledges I have mixed in there, some of them on slightly and mangle just for some variety. And, uh, don't really tiny detail there under his chin. I tried to do a little unsure mask. I see what that looks like. That's a little too much there, but the preview button and off the preview box. And just make some adjustments here and see if I can use, uh, any one sharp mask to kinda amp up the texture a bit. Say OK, though, that use that for now and now we're gonna go in here at the Dodge Tool. Nice large brush, Just kind of lighting all this up really helps with the atmosphere in the depth of the scenery to lighten up all this background detail, not just to lighten up the rocks for somebody hitting it, but to give it a little bit of some, maybe some humidity in the air. Really set apart the foreground elements with the background elements and give it a nice my sense of depth. So it's going here and use the Dodge two of those back mountains as well and lighten it up . But now what we're gonna do is we're gonna merge, uh, these background layers together. It saved first. Just what it's gonna put all these together. Command e command E Mandy, merge down. And then, actually, I'm gonna go back. I want to preserve the history that I want to preserve. At least the foreground layer. Keep it separated. Someone do that again from just the mountains back. Here we go. And now we have those separated and those background elements, uh, flattened. Okay, Now we're gonna make a nice big brush here, sample some of the foreground warm tan color there, and, uh, set color filter mode. Oops. Luminosity. Go back to color mode on. We're gonna just kind of go in here on the background layer to see what it looks like. We warm it up just a pinch. Maybe select. It's like a little bit of the tan from the swatches there. It's gonna kind of and it a little bit there and see if it looks ok. Not sure if it's working or not. Back to the Dodge Tool. I was gonna kind of blow that out a little bit. Try to really emphasize some harsh sun rays hitting the rocks. Go ahead and just cannot lighten up some of this back here. Maybe go to the foreground layer and, uh, emphasize a bit more of the cracks and finer detail there. It's really kind of dark and back to have these little cracks and pores that are in the rocks. Okay, scatter about a little bit. A good variety here. Okay, we're gonna go in and, uh, switch over the highlights mode with the burn tool. I'm just gonna, besides a little bit of the shaded areas on these rocks and then back in the color mode, players locked, it's gonna kinda hit the shaded areas, which is a little bit of cool. And then we're gonna put our dodge tools that the highlights just go in there with this brush spatter brush and see what happens if we really heat up the light source on these rocks. See if that works on that. A lot of experimenting here. I don't have any direct reference for these rocks here, so I'm just gonna very pensively of trying to figure out which is the best way to go. And I know I'm just gonna going back and forth between that, making the contrast stronger and then softening the contrast. I'm in the background there right now, doing some extreme highlight dodge to work. Maybe a little too much, though. A new layer pick a nice, nice, a cool gray if you go in here, the brush tool, a little bit of mist clouds in the background on, uh, maybe just try to indicate some clouds. Very distant clouds. It's brush here. That said, Dad, brush seems toe really nice for clouds. 21. Real dragon part 17: continue that with the clouds using the damn brush to go in there and some nice forms clouds. But I'm going to switch over to the spanner brush and give it a little bit more of some frayed edges of the wispy edges imperfections that clouds have on their shapes. Little bit of a tinier cloud in the far distance indicate, uh, different clouds and switch our brush now and which could go in there just above the very distant mountain horizon line and just kinda knock that back, make it look like there's some very far away. Misty clouds really kind of enhances the environment. Has a lot of depth to picture a little bit up here as well. We're gonna go over here, sample some of this, maybe get a little bit of ah, greatest purple hue. Come in here. And just kinda little wisps of, uh, cooler tones over the shaded areas here is it aren't directly hit by the sun. Cools down a little bit. Make a brush nice and big hair in the wind and just sample some of the lighter tone. Just paint over top of some of these spots over here. Switch back over to the spatter brush. One of the larger spatter brush is the amp up the foliage bed here, making a little bit more crisp. A lot of give and take here, going back and forth between knocking back the contrast and then amping up Holy because I'm trying to add details ago. So it's time ahead detail. I gotta go back in and knocked back the contrast just to set the said the mountains back a little further. Give a sense of depth standing a little bit of fully It's here and there. Okay, going in the dragon later. Now we're gonna flip the campus horizontal pick the Dodge Tool, set the highlights, and, uh, I soft brush my going here and just highlight all the all of the men are the areas that are being affected by the brighter lights. It's gonna really amp up the glisten machine on his scales and go do some work here in the head. Amp. Up some really warm highlights or glistening, uh, peaks back into the body layer again. Dodge tool set the highlight Soft brush working on the hand, the now just kind of trying to lighten things up a bit here. Some detail on his body and in the shaded area under the wing. Now, I got the spatter brush. Now selected one of the larger ones with the brush. Um, hopes I have locked that layer. See, I painted the green outside the shapes. I'm gonna go back in history palette, but here, lock the layer and reapply. You can see the colors and tones now staying inside the shape, trying to do a little bit of some reflective ambient colors. There's, you know, warm, warmer colors hitting from the rocks below, going here and pick a little bit of white. Change the brush with his dad brushes and trying to do a little bit of smiling up here in the upper right hand corner. There, between the wings catch a little bit of light. Reflections from the sky come down here by the the thigh. On the same, it's more, uh, experiment with some more bouncing light. I was knocking around here in the hand again, sampling a little bit of the tones from within. The creatures hand not that back a bit suit that looks like I, uh, cooler gray. There it's to the Dodge Tool set the highlights in some some stronger highlights. The wing there so finer detail on the tip of the wing, their top of the picture working small again. So it's hard to see the detail being done and really, really hot highlights here on his back. Just a the base of the neck there a little bit in this body, having a lot of detail here. Okay, so our detail back here, we're very fine right now, so it's hard to see the brush I have to look into some, Uh, if they have anything out through that enhances the cursors, it may be circle around it or something like kind of a future to toils. How to make that look more visible. Gonna foot the canvas back to normal now and on the background layer, I'm just hitting the burn tool that the shadows besides, in the contrast now back to the Dodge Tool, we're going that layer that, uh, between layer there. Oops, Wrong. Later. They're going in the body later. Now I understand. I think some color mode to the work that I did with the Dodge and burn, making some adjustments, warming up a bit some yellow zoom in here. Take a look. Maybe, uh, some work right here. And, uh, do a little work on his head Here. Change feud details a bit. A little bit more variety in here. First a little bit on his neck. Here's one. Knock this back a bit and then we get the brush. Put a little bit of color moaning a little bit of some mob yellow stripes with some very ace and color Berries that it's whose head where we go. That really helps. Camera emerged the head down the body layers. So now the dragon is one layer. It's got going here. Continue, Teoh. Add in some warm colors here and there. Can I add in some, uh, variations, But the warm yellow between some of the blower cooler colors on here. Some really good variety don't want to be too monochromatic. I work in a lot of detail. Want this guy to be so detailed. Okay, see here. Get, uh, burn tools that the highlights go to this much to clean up this area here and yes, again. Jumping around, doing a lot of jump around this point. A lot of finagle ing and finessing from this detail just want to try to make it should make those very small adjustments that make a very big difference. The burn till here now just kind of knock, knock it back. Some of the darker areas spear many with contrast the foreground layer versus the background layer. Make sure that the, uh, there's just enough to set him apart. I got the brush to color mode. Now go on and do it some more of this changing of certain areas of color back to the burn tools to the shadows. Um, that's tool. The highlights coincides Mile. See if that does try to bring out some of the high points in some of these areas that I just burned back back in the color mode, back to normal mode. It's gonna fix it up there. Fix that. I didn't have the layer locks. I went outside. The shape is this much tools kind of wiped that away, doing a little bit of work on the body with the burn tool set to highlights, going back and forth, doing a lot more. Give and take. Try and decide. So what extreme? I should lighten and darken some of these. I tend to do this. A lot of my paintings at this stage start Really, Uh, getting extremely picky about little details and indecisive about how how far did dark and enlightened. And I just kind of go back and forth a lot, and that s that. Come from looking at it for too long On, uh, copy the background layer used the lasso tool. I want to go in here and cannot draw e shape a quick mask and blur it just a little bit. And what I do is I'm gonna get the burn tool and just try to make a shadow as if some mountains that are off camera casting a shadow here and then sample a cooler color and just go over that. It just kind of colored in a little bit. See what that looks like. Make a new layer on top of that and then pick a Let's see, pick a nice, cool, purplish gray, make the slider come down a little bit. And what we do with this Pick a nice dad brush and we go in there. We make a nice nice mist cloud layer did a nice missed valley between the rocks he's perched out in the distant rocks and then add the all of their dimension of detail and quality to the painting. It's kind of go in the air and the to some wisps up higher. Make sure that normal muller here maybe maybe add a little bit of blue in there, and some warm colors in there as well. Just kinda gets in a little bit of a variety of ambient light. Different areas in the picture, just very slightly with it's on the detail. A pirate back there. Knock it back a bit. It up here helps set the contrast. Puts the dragon more. That's amount a little bit more. Put some more in the foreground. He's closer to the camera, about a missed in humidity, the background there, another layer, and that's layers on top of the foreground. Rocks with a little bit of a missed there to just a tinge. Make another layer betray the so it would look like if we put a little mist in the absolute foreground, right, right on top of the top of it. All right here but above the dragon. See if that does anything very slight. Maybe it's maybe it's not missed. Maybe it's dust from him moving around. There's a little bit of sand since surface elements there, and he's just kind of scooting. Hey, stirring up a little bit of dust there, you know that looks, maybe his wings flapping little and just kind of stirred up some dust clouds there, a little bit little bit of, ah, missed under his neck there. Resolve some of those areas, and it may be just a little too dark. I see two men on office. He hot looks undecided, whether it's something to keep or not a little bit more here. 22. Real dragon part 18: all right, we're gonna merge all those background elements together. And so now we only have our dragon layer in our background. Like the way I like to have my We like to have it. This is usually the way I like to work. I don't like having all those layers on their resume, and we can see how cruddy on that distant background details. So that that's going to eat a lot of water. A lot of touch up here, we'll do that in the bed. So we got Do is going here with smudge tool and, uh, do mostly a lot of smudging just kind of break up the brush strokes and, uh, you know, just add a little bit more detail with that. You know a lot of that detail I'll be doing towards the end when I'm finessing a lot of this stuff. But to sign your real quick, what kind of stuff needs to be done with that for them tomorrow? If you push the some details around amplify multiplying a little cracks and crevices time, we'll get to that in a little bit. First I want to go in here on. I'm gonna take the lasso tool cut out. Cut out the dragon's body away from the head. I'm trying to cut out the neck from the body. Quick mask. Check my selection weeks. I got it, but I wanted to be, maybe learn a little bit. So the edges it, too. Too hard to cut que to get out of quick mask and then it cut paste. Put the neck behind the body, and reason I'm doing this is it doesn't feel like the perspective is is forced as I wanted to be, so I have to do a little work here. First look up to filter liquefy, and what we'll do is we'll Hampton, but will turn the broad separately. Big. So then tryto push the liquefy. The image saw the shoulder, and the arm is a little bit more curvy looking. Try to really capitalize on some force perspective. Push a little bit. This up tryto amplify the curvature of some of these details. It may otherwise look too flat. I want to make sure the perspective reads quickly and correctly that the rear end of this guy's really much closer to the camera turned towards us. And so the detail it's closest to us like his thigh in the upper back area, there would be a lot larger. You see how large I have that Me and the arm, of course, is gonna be a little bit smaller. I'm just letting you know he was liquefied. Kind of pushed these things around a little bit. This is Ah, one of the fun cheats of digital art. You I can't do very easily in a traditional medium. Hence the necessity for me to have to be a digital artist that I really prefer to be of traditional artists and times command Z or control Z undo back in force to see what the difference is. And, uh, we're gonna take the lasso tool in select just a little piece here, cut that out there. But this little piece out, I try to give a little bit of ah, hard ads with shoulder so that the shoulders protruding out further than the neck. Maybe the base of his neck is very short, very quickly going out away from us, and then it turns how they made sense. Um, so now I need to go in here and with smug, until I'm just going in and just kind of fixing a few. They little imperfections there from pushing some of the stuff around some this detail around with, uh, liquefied tool. Fix some of the weird warping I just did to it. And now I'm in the neck layer. It's going in there with the sponge to ones very fine tuning some stuff. Little bits here and there. Oops. I was in the wrong layer. Their work on his arm. Get a little bit of, uh, detail back here. Pushed around a bit too much tulle. It's a free transform and amp. Up That perspective of his, uh, we read in the foreground. Just kinda shrink it. Yes, a little bit. Think so. And I'm gonna liquefy this. Move that around improving a little. Little enough. It's necessary. But just take a look. See what it does. Had a pitch. Some of these details make him a little bit more. I pinched some of its neck to look like it's curving a bit. Not just sticking straight out needs a little bit more base. So I added a little bit more thickness in the base and, uh, fix the top of this thing here too. First, I'm going here. Just kind of push the stuff back. Death a bit. Say okay with that, Maybe, Uh okay. Pull in here with the lasso tool and fix this wing Just a little bit of oops. I am in the wrong layer The body layer dragonslayer on re select glass A little command T for free transform pulled down troll command corner up all that little part down And there we go. I see they going there with smudge tool in just a little bit more finessing and some of these edges here thing is so close to being finished at this point, it it could actually be considered for this right now. But I'm just uber picky because this is Ah, I want this to be stand out. No, I felt any details. Meticulously. Details. Um, just want to make it look just right. Probably my own worst critic here. What I'm doing here is just cut a piece of his neck out and cut copy and paste in it, and I'm just gonna use it as detail under his her chin. There a little bit more detail free transform to put it in its place. We'll go there with the burn too long. Just kind. Knock that back a little bit. See how that looks. It often on you. See what I did. Maybe a little bit more free transform. Took it out there a bit more smart. Total. Just finesse the shape of it. A little bit more variety. Maybe a little too dark, but we'll see. Earned him together. That's too few tweaks here and there. A little work on the fire right now, just again tweaking things that probably only I am seeing and not really making much of a difference around little details this much toe. These are just the, uh, little did picks that I attended you on my pictures at this point. Flip it. Take a look at it. See what it looks like. Fresh view. They were, uh, still using this much told here, just working on a little bit of detail up on the wing up here. Very inconsequential stuff, details that are give or take that really, absolutely necessary. But this is just the part of the picture that, um, you know, it's gonna be a little picky about the best. Little bit bigger here see if I can pull out a little bit more detail here, and, uh, I'm going here. Just a little bit of some highlights on his forearm. Now we're gonna make adjustment to this thing. Teoh. Select the player with his head, neck to toe. Rotate that. Just a bid a little bit pulling. Pull that a bit like. So again. Very inconsequential little details. Yeah, close up this little area right here. Kind of a weird tangent there. Mouth background, how it lines up. But the foreground. Sometimes it could be a really bad tangent. You gotta watch out for those. It's hard to watch out for those. Sometimes you just get so immersed in the painting and you don't see really obvious. We're details on the right in front or face. Tell somebody else pointed out to you, and that could be very awkward. 23. Real dragon part 19: Okay, We're back to our alligator references. And this video is time lapsed Double speed because I'm puts it around a lot at this point and play at normal speed. It would be hard to see where my brushes at details I'm doing so speeding it up a little bit, uh, shows you a little bit better where I'm working and is a lot of long pauses between where I'm just staring at it. I wanna compress it down a little bit so you could see, like, for example, the detail It's happening on the side spikes there inside space. How slowly I was doing that. So I wanted Teoh just recorded it and squash squash it together in time lapse. You can kind of see the things happen a little faster because the momentum's dying down a little bit at this point. Um, I'm totally getting overly immersed in little fine details. So you see, just adding a little highlights, give and take top of his bones and horns and spikes, and, uh, this is pretty close to being done. I could go on to this on with this thing for 60 hours and just make it so buttoned up absolutely tight, and I think I mentioned it earlier. Um, but you gotta cut yourself off and set a time limit and keep it within a reasonable deadline that matches, You know, the day to day work day job, regular deadlines has to be a realistic turnaround of time. Worst case scenario, 10 hours at the longest. But I like to try to keep him around five and seven hours. Um, a lot of my paintings, comic book covers, but cars average time is usually two or three hours. Two or three or four. And depending on what kind of detail you're hoping to strive, you could just, um definitely I can go go on forever or make all kinds of shortcuts. I hope to be able to do this kind of work on a lot shorter time in the future. But, um, try to stretch myself past my my own limits. So that's why I say I'm, uh, basically, really, I went out of my way to go find some alligators and take pictures. I just wanted to, uh, look for things that I'm missing in my regular work. Try to find flaws, things that are lacking by taking pictures like this, I was able to go through and see all kinds of possible details I don't even think of. And, uh, you know, we're always learning. So the second you think you're great, best at what you do, you just stop learning. Definitely don't want to do that. Takes that point of, uh, takes the joy of living out of it. So But as you can see a Z, I'm rambling on here. The video. I'm just doing a lot of little given take details back and forth. A little bit of this, A little bit of that. They last much tool, and that's kind of pushing the pixels around, making it more Chris more detailed. But overall, I'm pretty satisfied with it. After this one. I'm gonna be want to do a lot more paintings of this calibre just to try to squeeze that time a little bit more, get more used to adding this kind of texture and detail all my other work on a lot of the dragon paintings I did back in the day on YouTube. Those were all more or less just goof off rush jobs and, uh, you know, the dragon thing really kind of took off in popularity in my portfolio. People were digging on those and I didn't realize how many people were checking it out. And, uh so I wasn't really putting my full efforts into those, even though those were just just horsing around between deadlines. Michael at a lot of storyboard advertising deadlines, there's This was often these gaps where the the email of progress of the job in and you could hear back from home for a few hours. So you open up a fresh Photoshopped document, just start painting something random, and that's what that WAAS started recording him in time lapse in home and average turnaround in those monsters back then was just a couple hours. But the But it shows you could tell. I was just horsing around and some of them got pretty viral. There's one particular painting that I did. It went really viral and, uh, really did to the state. Never liked it wasn't really a serious piece. It only took me one hour to paint the whole thing. And, uh, it was just it was for some reason, it went crazy. Viral. Andi was such a quick goof off piece that I wasn't even, you know, trying to particularly think about proportions or anything. And there was a lot. There was a lot wrong with peace. But for some reason it is my most popular video on the Internet of the dragon of any of my dragons. And, uh, not sure why certain pieces go viral over others like that. My opinion. There's quite a few other pieces. I think you're a lot more desirable than that one. But getting back to the peace working on here say I'm adding some crisper, darker black contrast lines between the scales still tightening still amping it up a bit and, uh, sampling some of the colors from within, trying to add in even more crisp blue. Fine details on a pan up, panting on the dragon reference to see some other potential inspiring elements I can add to it. I don't want my dragon's scales to be to uniform, and I guess what I mean by that is how organized and neat and rose they are on the alligators there. That would cannot. It may be a little bit two months for me to handle. Try to make it at this point. Try to input, implement some detail like that on this. Maybe in the next one. But this one. I had to get myself a little bit of room. Um, since this is a sort of a new adventure for me, I didn't want put two months of a restriction on how I laid out some of this detail. Messing with this perspective in ending this detail was already I got a hard So I needed to , uh, get myself a little bit of room for error there. And if I would have tried to make the the scales lineup kind of how you see that alligator , I think it would have. They would have screwed with the with a screwed with my own perception of the perspective a little bit. So as it is when I'm doing this random, like, so get myself a little bit of room to play and give me the options to change things. I suppose once it's all said Don, I could go in there and map out just exactly how those kinds of scale patterns would lay out on this thing. But be honest with you at this point, I'm feeling like I really want to be done with it. So that's not something I want to add. Maybe I'll do that. A future dragon painting. I'm sure I will. I'm gonna be, uh, trying to turn this up, Turn up the techniques more and more as I go on these things. So it could be a lot more paintings, and I'm sure I'll be adding more videos to this very to toil on here. I'm always going back and adding things. So through some addendums, you'll find him. You'll see him out here. Definitely add those, uh, send out notifications and whatnot. Be aware that I did. Indeed. Add some are to your purchase of this tutorial gone up there on the wing, adding even more detail. A little bit of smudge tool blended up a little bit. 24. Real dragon part 20: okay, we get a little closer now. I'm just gonna a little bit of close up detail ing hair. You can see I'm working with the Dragon photo. I mean, Thea Alligator photo references off to the side zoomed in considerably. And you can see the wonderful detail it's on there. And, um, emulating some of the some of the lines cracks between the actual skills, just drawing some lines through here to try to separate him to find him a little bit more. And that's just to show a little bit of the rose, not too much. And, uh, just make it a little less scribbling a little bit more uniform. And, uh, careful. You can see the detail taking place here right in the middle of the sunlit part of the thigh. Just going in there real time and tracing a little line in between there and just defining it a little bit more more pronounced, inspired by the detail in the alligator photo using my favorite spatter brush. See, I got it up there at the top of the settings of the top 25 pixels in size, doing little tiny crisscrossing lines right to the middle of the scales in this little area over here kind of lacking some detail, and you can see what I mean when I say Rose, there's like If you look over here at the lower photograph here on the right side, there's these little vertical lines that go between those little circular hole rounders scales and yellow spots and what not So that's yeah, I try to put a little bit of that in there, and there's some crossover lines that just kind of go between them. So that's pretty much what I mean. When I talk about Rose, there's connect those patterns that are rows of scales and one night, so moving forward, just using my favorite little spatter brush there. And I worked with this breast for the next next 10 minutes or so and just do a steady, a consistent flow of detailing with it. Just try to keep everything, make everything balanced and really tight, so kind of getting back into the, uh, just a little bit of someone, not me here, a little bit of tedious detail ing, and right now you can see the brushes and right here in the body section, it's hard to see but, uh, right between the lay the thigh in the upper arm. There's where I'm working just tightening up those little, um, and those little cracks between the rows and because he got some good crisscross going in there as well. That helps make the pattern more like the reptile references, trying to put a little bit of variation of detail on the his, um, thigh here, where it meets the arm. Just a little bit of some lacking in detail there. I just want to amplify that a bit more, but basically a lot of the same stuff, just going in there real quickly and newly. Then these little fine creases and cracks. I just have black selected, and I'm just going through here and round and round round a little bit of detail on the lower leg here, behind the knee on the back of the leg. There, over part of the leg again, just jump in our own, handing little details, looking for ways to spice this up a little bit of, ah, lighter colors here by the arm crease, thanks to the body. Some cooler colors mixing those in the, uh, the dark cracks between the scales try to fill in a lot of these darker areas. Um, he's outside, so it should be a lot more ambient light. Have a tendency sometimes to go pretty dark in my paintings and, uh, trying to break that habit. Lighten it up a bit. And I think I mentioned earlier How might most my monster and dragon paintings. They all seem to be the same kind of light lighting and shadow color themes trying to break that tradition. Explore different realism scenarios, outdoor light, sunlight. And that's why that would be good for this one was to be putting it like just was like a nature shot of one observed on the edge of a cliff. Nothing to, uh over the top. Illustrative. Imagine that events it traded to try to incorporate this kind of realism in a in action scene. Real fantasy scene corporate. Some people in there. There's a lot of artists, and I really look up to the day I see their work, um, on the Internet and stuff, you know, things they've done to various book covers and games and what not and they some amazing stuff, and it just really makes me inspired when I go in and just start painting something you always do. If you kidding. All right, go online and just do a Google Limits search for whatever topic of paintings. Um, whatever. Whatever the subject matter is realistic painted dragons, you know, things like that. SciFi paintings, classic sci fi fantasy hurt. There's so much stuff, so much inspiration just by looking at other people's work. I don't like, uh, I'm not a fan of my own work. So I'm one of those guys who can't stand to surround myself with my own work. And my wife always wants to frame some of my pieces or prints and put him on the wall around the studio. That's just a big no no for me. I do not like my own artwork to be surrounded me while I'm working for to have other artists work. So I I'm always scouting around looking for some, uh, very unique, detailed pieces that I find, ah, inspiration or considerably above my caliber and how these other artists think, and I just stopped. Even now I'm looking around the room quite a few pieces around me of just various artists that I've admired over the years, acquired some prints of their work and, you know, really keeps my keeps a good feeling to be able to sit back and glance up and see this stuff very inspiring. Very sobering. Humbling. Zoom in on the hand. There you can see it's close. It's pretty cruddy. A lot of, you know, can it chopped up little edges and have to go in there. Fix that. There's a lot of pieces on this dragon right now. That they're like that in the background is like that as well. It's get up close and, uh, take a look at it. It's just a little too loose. Um, again, I'm putting a time limit on myself. So I don't spend too much time. I mentioned before I could go on this thing for a whole week long, 60 hours of illustrating. And for this exercise, that's not that's not something I want to try to do right now. Honestly, can't afford that kind of time. So But, uh, before I do all the detail, I'm just going over this, doing a quick once over here and just doing some rope Quick. Basic stuff here. Going in. Sampling some stuff on the hand, looking at it from a distance, you know, zoomed out, even see, it's, uh, some doubt about 33% there it was a little bit. Get just a few, uh, Nibs of detail here and there again. I'm just jumping around with random spots here and there. A lot of it's very inconsequential. Nothing, really. I haven't really making any. Super big changes are names, give and take. There's a man here and do a little bit more detail in this. Um, some fine increases cracks in the skin. There you could begin. See at the top there what my brush settings are, which breast I'm using. Normal Mona past the 100% hello 100 and some little tiny details here. The upper arm your small back down Laura trying to amp it up a bit. Okay, do this much till now. Unlocked the layer. Of course. Go ahead and do some of these edges on this hand. Let's try that. Smudge that around a little bit. Fix it up. Is it so cut out and choppy looking? There, there, you can see on the fingertips and on the nails just going in there and gently didn't like cleaning that up, pushing the pixels around. I really loved this much tell. It's, uh, pretty good modifier. Quick told the modify details like this. All right. 25. Real dragon part 21: All right, we're gonna zoom in here on the face, do a little bit of work around the teeth and, uh, using the brush tool right now sampling some of these tones and go around and see if I could even out some of these pearly whites and make them a little bit more, uh, better blended. Better illustrated. Kind of a mess right now, holding down my optional km, just sampling a little bit of tones and hues from here and there and just kind of spread it out and experimenting with how to make these teeth, like a little bit, a little bit better, a little bit more dimensional. Now, at the end of the picture, I start to slow down a bit. The energy that I have a name about maybe 2/3 of the way through starts to die down a little bit and become little mentally exhausted from the project and very, very anxious to get it done. And I've never been a patient person with art. That's one of my biggest weaknesses and art. As I have zero patients. I do not like to sit and work for hours upon hours upon hours. I was never disciplined in that area. I'm having never gone to art school, even in number, then high school in my senior year, you know, having actually flunked out of art because of that, I was, uh, and an f and, uh, just really completely failed art. Only because I did not want to sit there and spend all the time drumming. I was lazy. Teenager want equality. So flies, you know, hang out with the, you know, friends and the girls want done. It's on the hand of my mind back then. It really wasn't really focused on what I was going to after I schooled slightly different , slightly different upbringing than most. You know, I was one of three boys raised by a mother. No father figure in the house, so it's a little bit different. Little crazy. Um you know, a lot of different things went on there, and, uh, in one of the things that kind of fell to the wayside was the art. There was no whole lot of a lot of support back then for breaking out and going into art. At least you know, not surrounding me. Um, I didn't take anything seriously back then. So I have this terrible, impatient side to me that just does not like to work too long on paintings. Which is kind of how it got to be fast. That's part of it. Part of it is, the other part of it is in later years becoming a starving artist, becoming so desperate for money that I had to work really, really fast at some pretty shoddy stuff just to make a quick buck and pay the bills. But, uh, yeah, back to the other saying about the high school thing, the art teacher wanted me to use every minute of the class to, uh, draw more stuff. I was always quick artists on the more talented kid in the class and, uh, given assignment, and I have it done in 10 minutes. And it would be, um, the caliber of it was far, you know, more complete than everybody else in the classroom. And he wanted me to do. He said, Well, if you this fast in this town said you should be doing more than everybody else in here. So you should, uh, you know, if it means doing 20 pieces versus everybody else doing to. That's what you should do. And, you know, technically, he was right, but kind of a thickheaded teenager, Really? No attitude thing, and, uh, just didn't get it. We just really did not understand it. Um, he seemed to have a little bit of a tip on a solar toward me. I had the at the head long hair, and I was kind of a you know, of a rebellious looking guy. Even though I really wasn't. I was just a just a looks thing. You know, teachers with students have no matter what generation it is, they do say a lot. Some students and think his thing was are you on drugs? He only thought I was on drugs. Class was first hour of the day, and, uh, I came in and I was always one doze off, you know, finish my work and I put my head down, and that was a little bit because I was goofing off horse around the night before. And needless to say, I really kind of missed a lot of opportunities in high school. Focused on a lot of the wrong things. Totally missed the boat for getting a any kind of scholarships for art school. It was kind of humiliating on the towards graduation when they were handing out scholarships and they got to the creative and arts fellowships. Everybody turned around, looked at me as if here comes Chris. You know, they were expecting me to get a knife that is hung bad down, realize that. No, don't look at May I blew this one. So and I did you know, that spent the next several years out of high school working miscellaneous jobs and factories, warehouses, you know, floating from here to there, you know, just not really, uh, fighting any direction at all. But at least I stayed out of trouble for the most part. And, uh, I didn't start getting serious with the art until, uh, I didn't start realizing that I needed to get serious till I was about 22 years old. When I first, uh, fell in love with my wife, I realized in order to win her, we were just friends and win her over. I need to really get my act together and find out, get some answers and find out where to where to go on how to make this happens. I actually sought out another art teacher they had on my junior year in high school, and she was always very supportive and always trying to curse me toe move forward. And, uh, she actually took me down to a art studio where they did work for ad agencies. Show me what other artists do for a living. Are targets that went to school, learned their trade. I had a big talking to from the person that on the studio, and she said, Just it's not too late Start now, get to work, build a portfolio and just, you know, do the best you can. And even then I wasn't really sure what what it meant to build a portfolio. But it was the beginning of, ah, a tiny bit of an understanding. So have been air rushing for maybe two years. Then I started to airbrush a lot. A lot of, you know, silly airbrush jobs, airbrushing people, jackets and helmets and cars and, you know, snowmobiles. It was kind of funny, kind of silly. And then from there I just, um, started to slowly gain a little bit of discipline, a little bit of self discipline and uh, it took me probably, you know, until it was I want to say, 30 years old, to start really getting getting it together with the whole commercial art thing. Because, I mean, during the whole decade of me being in my twenties, I did a lot of different things worked from. I worked my way up in the first part of my 20. I work for a company that produced hockey goalie masks. I airbrushed dozens and dozens of hockey going past it was actually enough oven income to pay the bills. And I have my own place. It was it was a modest income, but it worked. And then from there I started to submit work to comic book companies, and they started getting published. Got my first, uh, published comic cover. Art and comics was at the same time. I had did some work for dark horse comics, some Godzilla covers, and from there, I also did some Battlestar Galactica comics for Extreme Studios, which was owned by Rob. Life fell back then and then, um, from there, we actually, uh, we had a financial backer, um, offered support my own comic book companies. I tried to start a comic book company and made a I actually went and got the rights to Battlestar Galactica comics from Universal Studios and did that for a little bit completely failed at it. Zero discipline again, No schooling. And I think we got out six issues and I was pretty embarrassed by I'm pretty humiliated. But it was a It was a harsh lesson. It was the school of hard knocks. That's where I learned about deadlines and how important they were. And I I really lost a lot during that time. But I didn't know I was secretly gaining a lot because it wasn't it wasn't till the end of that decade that, uh, computers completely took over During that time doing time, we worked on a comic book, and I got so desperate for money and starving artists that, uh, that's when I started shopping around looking for work that agencies and when they just when it was close to no return me, you know which losing my house and stuff. Um, I, uh, the very last minute through that one of those Battlestar comics in my portfolio that I was so embarrassed about just figured I had nothing lose. And that was dealt. That's what did it and agency said, Hey, hey, there's a need for these. There's need for this sequential art stuff. Storyboards and and a Matics. Can you do those? I said, Sure. So I ended up doing a lot of storyboards and Anna Matics at first, and that's very quickly rose up and brought me into the other work. And, uh, from there, just just skyrocket and, uh, have been busy ever since doing all kinds of work. Even the comic book work that I did back then, Um, nineties and my c 1995. I did that Godzilla covers that end up, resulting in the some contacts and connections to let me do it all the Star Wars work I did in the last several years. Some Star Wars comics covers some stores, artwork for some Star Wars books. And, uh, so anyway, just a real quick, uh, encapsulation there my past while I'm up passing the time here to, uh, to create these, put these last minute little details in this, um, artwork in front of you. I would be good to just kind of throw a little bit of a little bit of chatter in there about, you know, school of hard knocks and why it is important to, you know, you're younger, really. Just pay attention and be humble. And do you listen to what other people have to say as I didn't and it took me a whole 10 years of grief and going the long, long, long, long road around finally come around to doing to succeeding. The only good thing that came out of that story is that when I finally did succeed, I shot right to the top and was competing with the, you know, the really, really busy artists that were doing the same work I was doing and I was always busy. So that's that was the good thing, was able to bounce back and not be behind anymore. So and looking at what we're doing here, you can see him on the bottom jaw there, just trying to put in some really fine little detail teeth, neither adequate. But at this point, you know, they they can go even tighter. I had met at even more tiny detail. At this point. I'm thinking about doing this that I might but, uh That's my impatience thing, and I was just talking about There's a lot of, um, getting bored sitting in one spot, trying to put out tighten some of these details. I get really invasion. And that's why I jump around a lot, making all those little specks in there you can see in the yellow area. It's a lot like the detail. It's on those alligator photos. They have those little little dots, little black dots on the tips of some of the texture of their skin there. And, uh, I think that really enhances the the dragon. This one I want to do. Emulate the alligators, white teeth, teeth, really pearly looking. I think the next time we try to experiment with some darker teeth, more grittier, more fire breathing type teeth. I can only imagine that if a dragon was breathing fire, his teeth wouldn't obviously be that white. But, you know, doing this painting he did. This dragon doesn't necessarily breathe fire, either. It's This is an experience with the realism detail on a fantasy creature, so being he's made up. For all we know, my creasing here doesn't breathe fire. He's just a prehistoric style type monster, and he's just hanging out out in the wilds on the edge of a cliff, roaring and shuffling about a lot of dinosaur influence in my dragon paintings. A lot. A lot of specifics that I put into until the ridges above their eyes and the way they structure their snouts and everything. It's based on my love, her Godzilla movies, giant monster movies, dinosaur films back in the day. There's a lot of influence there, creatures on the science fiction films and, you know, Star Wars creatures, all that stuff. I mean, I love Teoh love watching all this stuff. I've always been influenced by cinema and television. Creature is probably more than anything else. I grew up in the age of no computers as a kid. It was all we didn't get a VCR until I was a teenager. That was before DVDs came in big, definitely showing my age talking about this stuff. But yeah, my big influence was you know, if you didn't catch it now watching it on TV, you didn't wait till it came back around again. He runs couldn't go look it up on the Internet. I had to go to stars to find magazines that had photo stills, one that that was another avenue that I got a lot of my inspiration from. So, you know, there's video, a lot of a callback flashback to some of my, uh, some of the little anecdotes in my career in my life, so he enjoyed that. 26. Real dragon part 22: all right. More back on, uh, got my illustrations simplified again. It's It's just a dragon. Later in the background there, that's the way I prefer to work. Like having 2 May layers gets. That's getting to be above seven layers or get really edgy about it, and it just becomes a mess that's necessary. I can't help it get jobs in, and there's just a lot of stuff shuffling around. Suppose if you're doing storyboards. I did a lot of presentation. Illustrated storyboards on What I mean is that these these aren't shooting boards, their presentation boards. They're the ones that I've more or less finished pieces of art for each shot for commercials that the clients pitch to their client, Um, for whatever product or situation it is, they want him pretty tight. They picked him pretty well, and they tend to want to make some of them look as Titus what you're seeing right here. Not dragons, of course, but people and, uh, people involved in situations with the product coffee year, whatever food drinks, you know, various stuff like that. So when I'm doing storyboards like that and say there's 12 of them, I'll I'll lay them out on a grid three by 43 column of three rows by four columns or vice versa. And, uh, I tried to do the same process with the background layer in foreground layer, and I work on all the foreground elements first, as if it's one big picture on all 12 pictures and work on all the background. You know, again, it's like a grid of paintings up in front of me. So anyway, reason I'm talking about that is that it's one of reasons I kind of piece like this one, that I tend to be very adamant about keeping my layer simplified. Everything's got to be simple, because I gotta be ready and trained and conditioned to handle those big jobs. When you get a job, that's, you know, like the storyboards get maybe four days to do all 12 pictures, sometimes sooner. Sometimes it's one or two days. You gotta have these shortcuts. Hence lot of my assistance that this has to be a quick turnaround even on this dragon one. It's both for the reason of practice and exercise, and for the reason that I got to get it done before they call it the next one. So anyway, um, what we're doing here is I'm just going in and tightening up a lot of detail here. I could barely see the that tool in the air the cursor, but, um, just kind of working right now on the background just above his head, right above the spikes here, working on some of the trees. Very small brush. But I'm on in there and just doing some very fine detail right between the two spikes. On the top of that case, you lost me. And I'm definitely gonna have to look into some kind of software program that put the little circle around the, uh, my cursor. I seem to remember seeing in the three d tutorial lived on in the past. I think I remember seeing some some people out there use something like that. But I've looked into it before, and it didn't come up with anything. It really worked with my set up, but it's been a while. I have to look into that. Hopefully this doesn't, you know, throw anybody off. If something is not clear. Please. By all means, please reach out to me and, uh, you know, let me know. Maybe it'll be a result where I will have to go back in. And, uh, one of these videos are, you know, I have to go back and re edited and re upload it so but I'd love to hear feedback. Want to hear what, uh, what you think of all this stuff? If it's good enough, um, and I tend to go the more raw routine for teaching, which is just more of a one on one, a simple process. Doing the work and talking to that. I'm not a meta fan of big tricks, big production tricks. It's just it's not my thing, unless that's the project I'm working on. Obviously, when I work in animation and projects for clients, that's another story. They're hiring me to do that, but for teaching, I think it gets in the way I think for me, um, the linear process of trying to set up a nicer studio with sound and music. That's just not my thing. For years, people have asked me about putting music or sound or something on my YouTube videos. Back then, when I did the timeline of stuff I tried to look into and I just couldn't. I just I would lose my steam. Lost my momentum. That's just not how my brain works. To try to pick out a song to put in the background. I'm like, I just don't even care what songs there. I mean, I'm just gonna literally et meeting mining will grab something throwing out there, which is honestly, what I've been doing lately. I have been going through the YouTube selection of soundtracks. They let you have another, and I literally just big stuff and stick on there. You know something that sounds good. Click. There you go. But, uh, because of how fast I move with this stuff in the projects I work out. I like to be, um, a little bit more precise and quick and that so over, I would like to over think on the little thing other little things that are in between. Partially because if it were me in the reverse, I wouldn't want to be overwhelmed by all that stuff I would want to see. Just just show me how to do the thing. You know that again. Back to the impatience thing. It's Noah. No disregard and disrespect. Anybody else that does do all those little tricks. It's just it's a preferential for me. I don't mean anything to disrespect those who who do that, you know, in fact, anything I envy and I totally respect what they put in their videos. But for May, it's just, uh, just not one of those things that help me to get this through. If I was to probably be more into the production side of this, I would never get it done. But, uh, as it stands so far, seems like everybody's been okay with it. So I think you for that. As it is, it takes a while to get used to talking, narrating videos because I've always always worked in a quiet place alone and never really interacted with anybody, let alone sit here talking, then into a microphone. So for me, it's took a little while to get used to that, as I imagine it would for anybody else. And, uh, but I think him pretty much accustomed to it now, right under his neck. There, you can see him just kind of putting in a little bit more finer detail in the rocks. Um, I did look up some random pictures on the Internet. Of certain places I've seen of certain rocks and because of copyright laws, I'm not gonna post the pictures here. But it's just generic rocks from various places. Certain styles of rocks that I've seen driving down I 75 through Kentucky or, you know, places like that or Tennessee, where they see the rocks carved out on the side of the freeway kind of inspired by some of those outcroppings. And, uh um and I went, uh, went down to Virginia and I should've got more pictures last year, but I went down there last year and was taking pictures of the actual Wellons with the treaties and stuff. But I didn't get enough close up pictures of the rocks, Iraqi formations, underside, where they cut out all that stuff. I love going on shooting references of things. I'm going to zoos and, uh, take pictures of animals, you know, especially they're, uh, in the sunlight. I love the love, the ambiance of the light, bouncing off their textures and whatnot. It's one thing I like about smartphones now, and you always have a camera with it all times. You could just put out, Take pictures and I'm always filling up my car it with pictures of just beautiful days trees, road, semen in reflections on the side of cars. I'm just really Hey, that looks like a good reference and not know what about the phone? Real quick. Take pictures. Take pictures of, ah, scenery, trees, tree bark, plants, flowers. Everything all right, real quick. Just got time lapse the last end of this piece here because it's getting very difficult to see what I'm doing in the background just above his neck. There were cut on some fine detail on the rocks and, uh, now in the bottom by his fingers fingertips to be doing a little bit of detail there but working out in real time. It was getting really tough to see this stuff, so I thought it speeded up at least a little bit and go back over and record over it. So under Chan night, now it's tip of his chin. I'm just working in there with the brush tool with the spirit of our setting Number 14. I'm just going in and kind of scribbling in some random detail. You in there with my slot set to that Doug Black. I just sampled it. Now I'm working a little bit of grey back to black again. And, uh, we could above his head now, completely jumping all over the place here, and, um, work down here in the mist so you can see a little bit more of the a little bit more of the details through the mist. I might have to tone it back. Maybe a little too much in more detail over here from his mouth. And, uh, yeah, where all this is, uh, souped up pretty nicely. I mean, it doesn't look absolutely photo real. It still has quite a bit of painterly quality to it, but, uh, that's acceptable. It is a painting. I do, however, want to be able to create absolute for tourism photo realism. Um, a lot faster than what I'm doing here. So I'm gonna be challenging myself even after this piece, to be doing a a lot more like it. See what I can do toe further that process along, and I'm sure I'll be sharing those with you, possibly even on here. Instead of going through a narrating the whole thing from scratch, I might just tak a few videos, some addendums late around. Time lapse. Just to share with you is a quick drop in on this particular lesson. It's a check out. Here's another one I didn't know quick. No, that being said, if it's something really different than what I'm doing here, I will definitely make further tutorials to explain details. I also, uh, I'm interested in doing video answers to questions. So if anybody out there has questioned Hey, how do you do this? We would like to see you demonstrate this in a 35 minute video. Let me know I'll do that. I'll answer questions. Stick those on the end of this lesson and just dio, you know, in all out question answer session with video. So let me know. Appreciate that. 27. Real dragon part 23: Okay, continuing on I got the big old spatter brush happening messing around foliage trees and stuff. And I'm sampling some of the tones here. Put a little bit more over here on this ledge again. Time lapse in the video because, uh, jumping around doing all these little tiny things here and there. It's pretty monotonous, uh, trying to, uh, take you through that, especially when it's moving that slow. I think it's a lot more effective to see it happen quickly at this point, because there's nothing new being done. Everything you can see the details happening a lot quicker and easier this way right now is right above his nose. I'm just adding some lighter variations to these mountains back here. Does it really help that out again? More detail, the better. Um, I have been shown this to some people in between the phases here, and some people actually thought it was too detailed, and I don't know about that, but I guess if it's, uh, if there's anything that detracts something that detracts from that maybe it is to detail that about But, uh, I really, uh I mentioned earlier in this tutorial, but I have a hang up against something being too to pay nearly to smooth. You know, I like there to be texture everywhere, even on something that's just a street up flat, Grady. And I feel like I gotta add noise to it somehow. Money it up. See, my father was mouth. They're doing a whole bunch of, uh, really tiny fine detail on the rocks just quickly throwing in some fine fine lines for some distant cracks between the crevices between the protrusions, rather between the edges of the rocks. Just right Now wait underneath his chin there, sampling some of the color there with the old option G. And, uh, I think it's important. Always use the I drop her sampler function, which again is the agreements? Could be Ault on a PC old option on the Mac. And just you know why you're painting mother brushes and breast moment. Just hold the key down Sample color just kind of continuously do that. Spread out the texture and the tones and different hues And what not still working on the area in front of his mouth, heading more detail or grit toe the rocks cliffside and a messy up appear off to the right of the picture where I'm working. It's just a little too painterly and smudging, so I'm just trying to break that up a bit. So doesn't look to Messi like this. I like the I like the colors in the distance with the, uh, the blue kind of coming into the best like that. It's quite a difference between here in earlier on several lessons. Bellway right? I had a completely different background to compare the two. Um, you know, that's just that's something that I'm big on doing. Is changing the complete theme of backgrounds or color? See color sequences? Variations in what? For beauty of heaven? Digital. That's so much easier and quicker. Still working on these little cracks over here Very, very far, right? Just little fine Vertical details, little splits on the rocks. Confirmations. We're underneath his jaw Bottom Jonah In the middle there. That kind of a really dark grey, almost black isn't my spatter brush quickly scribbling here and there. Even more texture. A small brush right now, one of the really tiny fine details rate of theirs neck here before the jaw. Very fine detail here. Here the tool palette on the other side. Get behind it. And you can see how monotonous this could be working in the same texture for a long time. But, uh, that speed helps that to absolutely can inclined to it. Little bit more detail appear in the trees. Solidify it a little bit or the rocks again. A medium light gray Any more high points. You know, uh, setting the burn tool mid tones exposure down a bit. So it's strong the spatter brush going there and give it some variations from trees. Just maybe some breaks between the branches and whatnot over here in a little bit of, uh, darker tones over here as well Over the shading. Gonna beat the foliage is about one time here appear at the top. 28. Real dragon part 24: Okay, we're coming down to the final round, so I have the burn till set to, um highlights. And the exposures down turned down just a bit. I'm just going in here slightly darkening a few things here and there. Kind of going in and knocking some things back. Turned the saturation up there on the background. See what that looks like. Amp it up really bright and with the brush tool samplings and tones in the sky Have you got a color mode? Sampled A little bit of tone from, Ah, Dragon. Knock back A little bit of the wars Sorry, The the clouds on the horizon Just kind of de saturating those a little bit and a sample Little bit of tones on the rocks and just kind of spread a little bit that warmth right under his neck. There. All right above the shadow, right? If I was mouth, give it a little bit of contrast in color. It's cooler where the mist in the shadow is but warmer, worthy sun rays and fitting. Blending in a little bit better back here, too. Sampling some of the surrounding Hughes and just Mexico, I'm a bit more again the press isn't color mode. I'm gonna unlock the dragon layer and going to liquefy. I was gonna make a few tiny little consequence adjustments. What I'm doing here is just imagining that this part of his neck is a little bit more straight on. So it should be is curved. I'm tryingto try to make it look like it's turning. Whole neck is it's an illusion, Teoh perspective, illusion there. So I told that to see how that worked. Gonna push some of this stuff around here. Okay, kind of pan up here and we'll say, OK, so that you can see that hit command Z a couple times You see the difference. So All right. Next with the other way here in the background there on, uh, going here with the Dodge Tool. First, I'm going to, uh, open my brush presets. Here. Exorcist shape dynamics is not checked. And, uh, that's better. Get the whole width of the brush Shape Dynamics has attracted a lot the variation of the size of your brush with chains, depending on how hard you press down on the tablet. And I don't want that for this effect, I want to be able to gently going here with this dodge to just kind of letting all this up with a soft brush. Go in there and very gently lighten this up. I don't want to go too harsh on it. Blasted out. Okay. In the brush mode now set to normal. And I'm just knocking this back a bit. Very fine. Light, light colored sample that purple there was great. And I can't see the spot because it has moved to palette to a pallet out of you back in the color mode, Dragonslayer dusting over it, the warmer hues amplifying some of the orgy areas. Yellow area is a little bit more back to the background layer during that, uh, more color up a bit more rocks in front of him from his rocks up here and up here. Could be a little bit over here. I mean, essentially the paintings. Very much done. I'm just going through and doing last minute little details here and there. Strengthen brushed down. And, uh, and normal mall. Just kinda lighten this up a little bit. Here's black. A little too heavy. When they're very lightly. It's gonna bring that out. I love it. up here as well on a pair of spikes. A little bit over here on the wing again. This very inconsequential little details that I'm just gonna they pick in. It is for the most part of finished painting. I'm just tweak in little things here, there, knocking back a little bit there, lighten it up a bit. I've been a cool color there. Just a couple of spots in here and there. All right? So close. We're almost done from your little details there. Go on and putting. Just a little bit of some. Some of that tone up here. The outer fringes. All right, get my lasso tool. Do one last minute. Once over here. Que for pick mask having a blur. That selection. Lots of quick mask. Just amped this up. Say okay to that. I'm gonna hit the burn tool. Said the highlights Just wanna dark in the shadow down here by the bottom here, with his arms cannot put a little bit more of a contrast in line between the shadow in the sunlight back there as well. Uh, making the layer real quick care and put a, uh, sample that tone it. They're just gonna dust in just a little bit. Knock back some of that black and dark and area bit. That's not so, so dark, so black. All right, God's tool to mid tones. Lighten this up a little bit more, and that looks all right. So good to go ahead and call this done. And I wanna thank you for watching this video and for getting your hands on it and going through the whole process with me and please, by all means send comments, questions. As I said earlier, I'm going to be doing a lot of interaction with people's questions. Um, it will help me to learn to be a better teacher. A Seiken teach you better what my techniques are and share them with you. So I'm looking for a lot of feedback, and he kind of feedback and encourage anybody to ask me any questions. Uh, again, Thank you so much for joining me.