Illustrate a Custom Mandala Design in Adobe Photoshop with Your Graphics Tablet | Palehorse | Skillshare

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Illustrer un motif de mandala personnalisé dans Adobe Photoshop avec votre tablette graphique

teacher avatar Palehorse, Digital Illustration Wizard

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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

    • 1.



    • 2.

      Bienvenue dans le cours !


    • 3.

      Configurer votre fichier de modèle


    • 4.

      Esquisser votre concept Mandala partie 1.


    • 5.

      Esquisser votre concept Mandala : partie 2


    • 6.

      Esquisser votre concept Mandala : partie 2


    • 7.

      Décrivez votre ébauche : Partie 1


    • 8.

      Décrivez votre ébauche : Partie 2


    • 9.

      Dupliquer et Roter


    • 10.

      Remplissage en couleur de base


    • 11.

      Ajouter des ombrages, des dégradés de couleurs et des hauts clés : partie 1


    • 12.

      Ajouter des ombrages, des dégradés de couleurs et des hauts clés : partie 2


    • 13.

      Ajouter des ombrages, des dégradés de couleurs et des hauts clés : Partie 3


  • --
  • Niveau débutant
  • Niveau intermédiaire
  • Niveau avancé
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Généré par la communauté

Le niveau est déterminé par l'opinion majoritaire des apprenants qui ont évalué ce cours. La recommandation de l'enseignant est affichée jusqu'à ce qu'au moins 5 réponses d'apprenants soient collectées.

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About This Class

Vidéo par The F***ing Champs

Ici dans le studio Pale Horse, je peux ne pas arrêter d'aliens, de créatures mythiques, civilisations anciennes, géométriques sacré, luchadores et icônes religious Outre mon travail de galerie, de la série de T-shirt et d'impressions sur papier, les graphiques que j'ai réalisés pour des clients comme NIKE, WWE, Mini Cooper, DC Comics et Hasbro sont développés par le biais d'un processus d'ombrage et dans Photoshop - Un processus Pale Horse

Ce que vous apprendrez

Vous apprendrez à créer des graphiques de manière complexe, à partir d'une tablette de base et Adobe Photoshop. Nous couvrirons :

  • Esquisser. Comment développer votre concept brut
  • Travail en ligne. Comment réaliser un travail à la ligne serrée dans Photoshop
  • Mise en page. Comment utiliser des calques pour créer des fichiers d'art propres et polyvalents dans Photoshop
  • Ombrage. Comment ombrer et colorer votre travail dans Photoshop

Je vais également aborder des conseils et des astuces pour des paramètres de pinceaux spécifiques que vous trouverez utiles pour ce cours et tout autre projet Photoshop avec lequel vous lancez.

Ce qui vous attend

Vous pourrez appliquer immédiatement ces compétences à une œuvre d'art à votre propre œuvre en créant un mandala - un motif géométrique de base que vous pourrez rendre aussi complexe et coloré que vous le souhaitez.

Rencontrez votre enseignant·e

Teacher Profile Image


Digital Illustration Wizard


Growing up on a steady diet of heavy music, skateboarding, tattoos and world travel, the illustrations, murals, screen-prints and gallery work of Palehorse serve as a winding trail of past explorations and illuminate his constant quest for Self-discovery and personal evolution. Inspired by an ever-growing fascination for spiritual practice, sacred art, ancient civilizations, plant medicines and world mythology, his images are designed to grab attention quickly, captivating the imagination and pointing towards the ineffable spirit that lies beyond the material world.

The bold, colorful and intricate illustrations of Palehorse have been commissioned by companies such as: National Geographic, FX, Under Armour, Nike, Mini Cooper, DC Shoes, WWE, Hasbro, Penguin Books, TECHNE Skateboar... Voir le profil complet

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2. Welcome to the Class!: - First of all, - I just wanted to say thanks to everyone for enrolling in this class. - It's really cool to get to connect with you on this level, - and I really hope that you enjoy the class and you learn some new things that you can - incorporate into your own artwork. - So for our subject matter for this class, - we're gonna be illustrating a mandala design, - and I chose. - This is our subject because I think it's gonna be a great practice tool for any skill level - I wanted to create a class that would allow everyone to get a sense of how fun it can be - . - just to draw something without having a whole lot of thought involved. - So just to give you a little bit of background, - the word Mandela is a sense, - great word for circle, - and it represents the universe. - It's a spiritual ritual symbol used in Hinduism and Buddhism to establish what's called - sacred space, - and it's used in meditation or trance induction, - which is sort of what we're aiming at here. - But with the help of photo shop in a graphics tablet, - we can get a little bit of a taste of this and create something very beautiful pretty - quickly, - without the years and years it takes to perfect, - hand drawn symmetry. - And I think that you'll find with practice that your best work will come from a place where - you get to stop thinking so hard and just start drawing something. - Even after all these years, - my absolute favorite thing to do was still just to put on some headphones really loud, - tune out the rest of the world, - dim the lights and just draw something for hours and hours on end. - And I hope that this exercise is something that you guys will really enjoy. - And perhaps you'll surprise yourself with what you're able to create. - Also, - just to mention for my process. - While I'm drawing, - I've gotten really addicted to listening. - Teoh Audiobooks in podcast really helps the time pass. - I'll also listen to music and ambient sound on also something recently I've gotten into - called by neuro beats. - I posted some links into the resource is section. - If this is something you guys want to try out and it works for you and you connect with a - great if not, - don't worry about it, - I just thought I would put it in. - There is. - It's something that I enjoy. - Um, - and also, - just so you know, - I'll be working on my walk in sin Teak 24 HD tablet. - But anything that you've got any graphics tablet will work fine for this exercise. - All right, - well, - I'll stop rambling, - and we're gonna get right into our first phase, - which will be creating We'll set up a template file, - and this is gonna make our sketching phase go much quicker and be much more enjoyable. - All right, - so let's get into it. 3. Setting Up Your Template File: - And so it begins. - We're here in photo shop. - I'm using Photoshopped Creative Cloud, - but older version will work. - Fine. - I've got my welcome Tablet ready. - So let's go up to file new Uh, - let's make this, - um said it two inches here. - So we're all on the same page. - Let's make it 18 by 18. - And let's set our resolution here just toe 1 50 as were sketching. - Keep the background at white, - and we'll name this mandala it okay, - And now we're going to be creating Here is a template file. - And the best way to get started here is we're gonna create some guides toe help us along - with our sketch. - So also, - like Teoh, - step my view to full screen. - So weaken be more free here to move it around. - Um, - turn on our rulers so we can pull some guides. - If you select your entire canvas and you hit command to your control, - T um, - you conciseness app your guides right into the center. - Let's grab another one. - It's gonna be at nine. - And nine since we're at 18. - You can see that's precisely right in the center. - Um, - just hit, - okay? - There in de select. - And now we're ready to start drilling our circles. - Um, - let's go over here and create a new layer layer one here. - I'm just gonna call this circles and these air going to serve as our guides for when we're - drawing or sketch here. - Um, - so let's click right on the center point here. - So we're clicked right in the center. - Point on, - and I'm holding down option and shift, - and I get a circle that's pulled right from the center. - And once I got that, - release it and then go to edit stroke and I'm gonna choose an eight pixel stroke and let's - put it on the outside next. - Not all of the Photoshopped versions have this. - It's pretty handy. - You can keep drilling if you don't have the newer versions here. - You can just keep drawing the years selections, - but we have transformed selection. - Hold down option and shift. - Let's, - um, - create another circle here. - Um, - I'm gonna be creating a bunch of circles just so that I have a bunch of guides still work - from, - and we can always create more later. - So let's just hit, - okay? - They're gonna go at it. - Stroke eight pixels again outside. - I'm gonna keep doing this a few times, - so let's just create a bunch more here. - It doesn't have to be exact. - I just kind of eyeball it and create a bunch of them, - and we can use them as needed at it. - Stroke. - All right, - so that's our circles here. - I'm gonna actually make a new layer here, - and I'm gonna call this our sketch layer and this one. - I'm gonna do the stroke at its stroke. - Um, - eight pixels there. - And if you click on the circles layer, - let's change this opacity. - Let's get away, - down. - We just want it to be used as a guide. - So let's make that 15% might make it maybe even less like 10%. - So now that we've got our circles set up, - the next thing we want to do is also create some lines to guide our sketch. - So let's create a new layer is calling this lines. - Call it lines, - and we're gonna use this over here. - It's called Thesis Ingle column Marquee tool. - And if we click this right in the center, - right on our line here, - um, - I can fill that with black and I want this to be two pixels so that we can get it right in - the center. - So I'm gonna move this over one pixel, - and I'm gonna fill it again. - So now we've got a line that could be right in the center. - Turn off my guide. - I can see it there. - Another thing that I'm gonna do here is zoom in. - And, - um, - I'm going to scale this a little bit, - and I'm holding down option so that it can grow taller and option will keep this right in - the center, - which is important. - Okay, - Hit. - All right, - it OK, - They're on. - And I'm gonna duplicate this layer. - If I hit command T control T on the PC, - we can see. - Since we hit option there. - This is right smack in the middle of our drawing of our art board. - So I'm gonna hold down, - shift and spin This, - um, - at 45 degrees, - you know, - we could actually do is punching here. - Let's do negative 22.5. - Get okay. - Twice. - And then I'm gonna duplicate that layer again and it transform. - And now I'm going to set this at 45 degrees it okay twice going to duplicate that again. - Transform. - Put that at 22.5. - Okay, - there. - I'm gonna merge a couple of these here. - Make this go faster. - So duplicated again. - Transform 22.5. - Actually, - since we have to, - we can do 45. - Duplicate that layer again. - 45. - All right, - There you go. - You can see we have some nice guides. - That air coming right out of the center and we can merge all of our lines. - Toe one layer, - keep everything clean. - And I'm gonna put that under the sketch, - and they're gonna set that to 10% as well, - so we can see it. - It's there, - and we can use it as a guy. - And you can use this file over and over. - If you want to make more mandala drawings, - you can save this as your template, - so you don't have to do it every time 4. Sketching Your Mandala Concept Part 1: - All right, - so now it's time to have some fun here. - Um, - I'm going to start on my sketch layer. - Let's turn the screen mood back to full screen, - um, - on the sketch layer. - I think I want my circle just to be really small. - Start out with Let's just do, - like, - a little dot And you can kind of start your drawing out however you like, - um, - I'm going to start out with some basic lines. - Teoh, - get that piece going. - You could start out with circles or dots or squiggly lines. - Whatever. - Whatever comes to your head is going to start drawing here and see what happens. - So years doesn't have to look like mine. - You know, - you can watch watch me and then just go on your own instinct. - So let's start out here and just draw some lines. - Um oh, - yeah. - To talk about my brushes that set up here, - you click on brushes. - I just created a simple brush that I use for sketching. - You can see here figure over the window brush. - Um, - I just created a new brush. - Um, - it's got no hardness on it. - Um, - it's ah, - the shape dynamics. - I clicked Yes, - you're seeing here. - I just turned on pen pressure. - Um, - I didn't mess with any of the rest of this, - and I just click transfer and smoothing. - Um, - and transfer just clicked. - Pen pressure on bond. - I can put these screenshots online in the resource is but nothing fancy. - So click on the brush over here said the capacity to 28 I turned this on which allow the - the pin pressure Teoh control how dark your lines are. - So let's just get started. - I'm in sketch layer on. - Gonna just be drawing some lines. - You can really draw any size lines you like mind set at seven pixels right now. - So it's just fulsome lines here. - And so you can use the reason we created all of these circles and lines so that we can you - know, - you can use the same. - We can make sure we're symmetrical every time we're working. - See, - I just would have missed. - So let's just draw some lines or whatever shapes that you feel are correct. - So once we get this, - I'm thinking maybe one another circle when it would never have a circle. - It's just easiest to, - um, - draw a circle this way. - We need to go around and try and do a perfect circle on your sketch ago at its stroke, - give you but this at 50%. - Then, - um, - here I was thinking about it's kind of create a interesting leaf shape. - Did you want to try and just get it similar on both sides here? - And as you do it, - maybe you decided that you wanted toe shape a little bit differently. - I'll set my eraser to the same brush as well. - I set that up exactly the same way, - said the capacity down and it just kind of into more of a light natural arranged erasing - that harsh and drawing this way and just sketching shapes. - I think it would be really good practice. - You know, - there's really no pressure. - You're just kind of drawing shapes. - All right, - So once you got the first row leaves going, - I'm kind of even Amount are just turn off these guides. - You can always turn off your circles to just to kind of see what you got going on here. - It's gonna true it up if you need to. - It doesn't really matter at this point. - Really. - Um, - it's just gonna help you see what you're doing. - Um, - so yeah. - Then just start kind of working off of that one. - You know, - maybe I don't even want this circle anymore. - I don't know. - Do something more like this where we connect down with this line, - maybe. - Do you want to start it? - This one here created Double Leaf. - Yeah, - maybe just take that all the way around here. - We'll start it out with just one. - Let's go ahead and will start at this point. - And then we'll put it up to this point using that. - It was two guides guide in the center. - Same thing here. - This way. - Yeah. - And then maybe we'll do is kind of bullet Ingle. - Bit of an angle. - Maybe we'll do a circle, - - someone - to get into, - like, - these bigger areas, - and we're gonna start detail ing it out. - Actually, - you know, - you could draw them all by hand. - Um, - repeated all around. - That's good practice. - Um, - or if you want to skip to the short cut, - um, - you could kind of just draw the areas a couple of sections here, - which I'll show you how to do, - and then we'll just copy and paste rotate duplicates. - But I like to see how the whole drawing is coming together. - So I kind of just kind of zone out and keep drawing all these things. - Just a little pattern in here, - and you can make your designs as complex or simple. - Asi like on you hear a lot of ambient noise out here. - I'm downtown in the studio, - so you'll hear cars and motorcycles and drunk people walking by. - So I kind of had a, - uh, - ty style flame in mind on this one. - I'm thinking of making a bit of an eyeball shape, - and I dropped sometimes Here, - um, - So I'm just gonna pull, - uh, - Circle center here, - and I'm gonna go at it stroke. - And let's just make this one texel so that we can draw on top of it. - I'm just gonna use it for my guide. - It looks the same. - Put another circle here. - So, - you see, - I'm kind of focusing in on one area rather than going all the way around kind of liking - what's going on here? - So I think I'm just gonna, - um, - drawing this section of it, - and then we can duplicate it. 5. Sketching Your Mandala Concept: Part 2: - So what I'm gonna do next year is a little trick, - Teoh. - Just kind of duplicate this around, - get, - like, - one area that's working. - Well, - turn off the lines and circles and let's hit command shift. - See which is gonna copy, - emerge that it's gonna copy some white as well, - and then we're gonna paste in place. - And that was turned these back on. - You see, - I'm gonna put these lines right on top here. - So our new one, - we're gonna hit command T. - And let's, - um, - with that right in the center again, - if I hold down shift, - I'll get my 90 degrees. - So our layer here, - we're just gonna duplicated again. - Make sure that's right there in the center. - Slip it around 90 degrees. - All right, - so now we're starting Teoh. - See the pattern here in the circles? - Um, - I'm just gonna emerge this sketch layer, - so we're back toe one simple layer, - and I'm just gonna continue some of these lines. - So we got a complete circle. - That's where it gets fun. - It starts to kind of come together. - You can see if it's working there, - make some adjustments. - Okay, - So there's some shapes starting to emerge on the inside that I think are pretty interesting - . - We can take this circle, - maybe to start carving it out, - maybe make some more teardrop shapes in there. - All right, - So, - like I said, - this is starting to kind of look like an eyeball here, - So it's a little highlight I was gonna match. - And it's really just all about using guides using, - you know, - keep in your mind open and seeing what kind of shapes and of appear and just filling the - men and seeing what works. - See what looks good and then copying and pasting whenever you need. - Like I can see now, - um, - probably want to put some more of these shapes. - And so it's just them. - Grab this guy here, - copy my sketch layer in a paste it in place and then turned back. - My guides throw that right in the center and I can duplicate those. - It's 45 degrees, - duplicate him again, - slip it and I can see I need two of them. - I'm gonna merge these two layers. - All right, - so now we got some room in the middle here to draw some shapes. - I'm just kind of come up with some new shapes and then repeat him around. - You go to this line this back down so we can sketch thinking some more leaf patterns might - be cool. - Turn off our guys. - We can kind of see it's starting to come together here. - Pretty interesting shapes. - Looks like when you need something. - Here's well, - so cool. - Another kind of fire Shape up and you can constantly tweet there other shapes to kind of - mess around with it and picked the area that you think is working the best later on. - You know, - you don't have to stick to anything you don't have to hold. - Anything is too important, - really just were in the sketching stage. - So feel free to a race and start over. - Do it as many times as you like, - but just you just keep trying. - So another thing that you could do once you start kind of getting to, - uh, - the end of your page, - what I do. - A lot of times, - I'll grab my sketch the whole layer here, - and I'll just hit command T. - And then once again, - I will make sure that the center point is right here in the middle of our guides and then - shrink it down and give a little bit more room to keep trying. - And you could keep doing this for a long time and keep getting bigger and bigger and more - complex, - if you like. - But remember the low rez sketch right now So you don't get your lines to get too small that - we can keep drawn. - Let's go ahead. - And, - uh, - copy this piece that we're working on here. - All right, - so it's gonna select it. - Copy it. - Pasted in place again to Manti. - Throw this right in the center that there you can see we're at 45 degrees. - Exactly. - E go. - So now it's more funding drawn top of us and see, - we're connecting. - So let's just, - uh, - merge those layers and like to keep it simple one layer skitch. 6. Sketching Your Mandala Concept: Part 2: - So now we can kind of charity. - See what looks good here during another circle. - - So - to get this exact it always just copy this one. - We want to match it up right here, - and then we'll do edit, - transform the horizontal. - On we go. - That's better. - You can see we're getting kind of starting to be a little more symmetrical here. - Emerges to sketch layers again. - Just kind of fill in these spots here that are lining up. - All right, - so starting to get somewhere here, - just fix that real quick. - Highly back. - I'm all about planning. - I'd like to have a really good plan in order. - A lot of my sketches end up looking the left very similar to the finished piece, - because I kind of want to know what it's gonna look like. - And I want to have it all in order. - All right. - So I think I'm gonna end it there, - So let's, - um Let's grab some sections of this here, - um, - turning this back on what we could do. - Now, - since we've been really working on this section, - let's go ahead and has a little bit more here. - I was gonna fill in some blacks here on a little more contrast to the design way. - Really? - Only have two you have to do. - All of these were gonna copy and paste. - All right, - so you can see here. - We just got a select Can they use are simple lines here that we created to make a selection - . - Um, - I'm gonna turn out my guides and command shift. - See for copy. - Emerged man shift V for paste in place. - I don sold down shift. - Just duplicate this. - Let's make another one duplicate. - Transform. - CenterPoint. - Rotate now, - like emerges to to get multiple duplication Duplicate layer shift. - Hold on. - Shift and weaken. - Spin it. - It's really kind of turning doodles of nothing into something pretty cool that this thing, - it's really fun to watch a design kind of come to life when you really didn't have much in - mind the first time or when you started. - I have seen the one again to man shift V commits a command ship. - See command shift V and Centrepoint again on There we go. - All right, - so we got a pretty cool sketch going here. - Um, - hope you enjoyed watching that process. - You can always go in here and refine it if you wanted to. - You could put this on a transparent layer and keep drawing on top of it until you get it - over and over until you really like it. - Um, - I think I'm about ready to move into the next stage so we'll see in the next unit. 7. Outline Your Sketch: Part 1: - Okay, - so in this unit, - we're going to start outlining our sketch. - Um, - the first thing that we're gonna do is grab all of these sections in the sketch and merge - them down. - So just click merge layers. - Um, - and in you may, - at this point, - you may want to save your file so that you can have a just a template file for future - drawings. - So you could say that you can throw away this layer, - but we'll just move right along here on day. - Um, - we won't need the circles anymore. - So I'm gonna throw that layer away, - Um, - and so that we can see our sketch, - but be able to draw over the top of it with black lines. - I'm gonna make a hue saturation adjustment layer. - So still a few saturation click colorized, - said the lightness around the 90 area, - um, - saturation, - 200%. - And I like to use ah, - blue color to draw on top of you can use any color you like, - um, - and we'll want to use We'll keep the lines here. - I'm just gonna throw that behind the A. - Pass it so we can see it there. - Um, - but so as you've guessed we're only gonna be actually inking or outlining this section - right here. - And then we'll be able to flip it around and save a bunch of time. - So let's, - um, - start a new layer. - And, - um, - if you remember, - we we only made this 200 d p i to begin with, - um, - we're gonna want to pump up the resolution at this point for for drawing for outlining. - So, - um and this will depend sort of on your computers capabilities. - How much ran you have, - but I usually like toe work at at least 600 d p. - I. - And if it's a little bit too slow for you, - you can you can set it at 400 or something like that. - But the higher the DP I hire the resolution, - the cleaner your lines will be. - And when you zoom in it, - it will look pixelated. - So just up the size here, - Okay, - Now we've got our 600 GP I file the first thing that I'm going to do it. - I've got some circles in my design, - so, - um, - I'm actually just gonna use the elliptical marquee tool to draw some circles. - Um, - make that easier, - so we don't have to do it by hand. - Um, - clicking regular on the center point holding an option and shift. - You go to edit stroke knees, - E seat. - At this point, - we've We've made our file bigger, - so we're gonna want to use the thicker line, - so we're gonna go to edit stroke. - Um, - let's do 16. - Yeah, - that looks pretty good. - So I'm going to go to select transform selection, - inner circle at a stroke, - and, - um, - on another layer, - I've got these other couple little circle spots that I'm gonna just select real quick, - and it stroke 16. - Select. - We're gonna transform the selection. - That one at its stroke. - Throw this one on the inside. - Okay, - so that's ah, - battle circles. - Exact circles that we're gonna need. - So, - in this, - um, - this drawing exercise, - we're going to be using a pressure sensitive hard brush and see, - here it's 100% in the hardness. - Also in the brush settings, - which I'm gonna post this in the project here so you can see in Munich my brush settings - click on shape dynamics, - underpin pressure or under control. - It's that select pen pressure. - Um, - so that's basically if you just set up your brushes this way. - It's nothing too fancy here. - I'm also clicked. - Smoothing? - That's just going to give us a, - um, - brush it similar toe kind of working with a Sharpie or like a pressure sensitive brush - marker. - All right, - so, - um, - just to kind of, - ah, - race some of these areas that I know I'm not gonna need to get rid of. - These lines can emerge those layers and then another layer here, - I'm going to start drawing. - Um, - And again, - we're only gonna need Teoh in my design here. - I've got this kind of squiggly shape. - It's not exactly If I had it right down the center here, - we'd actually only need to draw this section. - Um, - so I'm going to draw half of this, - and then I'm gonna flip it over, - and then I'm just gonna add in the kind of squiggly section that we've got here is Well, - so, - um, - make this outline layer one on line two. - All right, - so now we're just gonna start drawn. - And since we did our stroke at 16 pixels, - we're gonna want to do the same thing here. - So, - um, - either type it in or you can adjust it depending on how you have your tablets set up here. - But since we're at a 16 pixels, - you kind of take that in and create a a new brush. - That's 16. - In that way, - it will stay there, - and I use the same brush for my eraser Tool is going to be a hard brush. - That's pressure sensitive. - So in a race, - All right, - so here we're just gonna want to be very carefully outline our sketch. - This will, - of course, - take practice. - Teoh, - get your lines exactly straight and how you want to. - But just keep, - keep working at it. - Keep drawn it. - This is a great practice tool to get your lines the way that you want them. - And whenever you don't get like an exact point here, - it's always the great thing about the tablet years. - You can always zoom way in and you can finish it off perfectly. - Just erase it to a nice point here. - Since we're only really drawing little sections of this, - we can get pretty critical with it and spend some time getting our lines looking really - good 8. Outline Your Sketch: Part 2: - Okay, - so I'm going to save some of these patterns for the next step here. - But right now we can go ahead and grab this outline layer. - I'm just clicking on it and holding down shift and duplicating it. - Then we're gonna transform horizontal. - And now we've got another section here. - I can see it lining up pretty good. - I'm gonna go ahead and merge. - These two saves us a little time, - but we want to go in here and fix things that aren't exact. - So let's create a point here. - It's racing a little bit further. - You zoom in here, - you can get a nice and crispy point to move gaps. - Just a note. - If you enjoy using Illustrator, - you could also outline the cell with the pen tool and illustrator and do it that way and - have some nice vector lines. - I do. - That sometimes is Well, - I just wanted to kind of show how you could keep this all in photo shop. - If you like to do it, - an illustrator feel free to do that. - And then you could copy and paste it back in here. - And then we could shade and color in photo shop again later, - however, - you like toe work. - I just kind of I like just drawing with my pen. - So, - um, - I tend to just use Photoshopped whenever possible, - but either one work. - All right, - so now we've got this pretty much outlined. - I like to put my patterns in any black, - um, - thinking on another layer. - So let's just call this lines and then, - um, - gonna make another layer here, - put it under the lines, - and we're gonna call this patterns. - So on the pattern layer, - if you've got any patterns in your design, - um, - you can put those here and notice. - Here's sometimes it's it's easier if you just select inside the lines When a select here, - I'm just gonna go to select, - modify, - expand, - do four pixels, - insider patterns, - layer It said the steel big brush here. - This kind of just helps to stay inside the lines and be a little freer when we're drawing. - Seem inside here. - We can just fill who to that one. - Yet I made in action for the expand. - And when you're filling areas like this, - you want to make sure that, - um, - your points actually are filled as well, - so you can see Now, - um, - it's not gonna be filling this section here. - Was that in this in? - And I'm gonna fill that in the pattern pattern layer quickly in my lines to make things - easier. - So I can select this. - I'm gonna make a little line right there so I can select it. - Expanded. - Then my patterns layer Indra these patterns. - Okay, - now that we've got those patterns in place, - de select everything and then just, - uh, - duplicated flip it presentable. - Then in match it up, - emerge these two layers to keep everything as clean as possible. - Just filling in these sections that are different and gonna go and select. - It's these areas here, - and we'll just filling spanned. - I feel Explain that. - And then you'll see I'm hiding my selection whenever whenever I'm drawing in here. - Because it's just easier to see of this program. - My tablet with a command h um really useful toe hide selection do not a lot pretty good - filling any extra lines that you've got. - Okay, - so now we've got our peace outlined. - Looking pretty good. - Um, - seeing spot here that I want to touch up. - Just take a once over. - Look at everything. - Make sure you like it? - Because that's gonna be the foundation for the rest of the peace. - Much easier to do it once than a bunch of times. - And we'll see here. - I want to add in these patterns down here as well. - I forgot to drop those. - And so I'm gonna make another pattern layer. - Let's go ahead and drop this section. - Just gonna copy that. - Flip it. - That right in the center. - There. - Okay, - so now emergent Virgin Airlines layers. - We've got our lines on to there. - Emergent. - We've got our pattern separately. - Um, - go ahead and add this black in. - I don't want here. - Let's do it. - There, - there. - Just expanding. - I just fill it in here manually. - Okay, - so that is our outlining phase. - So in the next phase, - I'll be or the next unit here. - I'll just be kind of showing you how to flip this and are are drawing will be coming - together nicely. - So stay tuned for the next unit. 9. Duplicate & Rotate: - All right. - Welcome back. - So in this section, - we're going to be duplicating our line work and are any pattern or black, - uh, - fills that you've got, - and we're gonna be spinning it around to create the rest of this design. - So first, - let's grab both here. - Um, - I'm gonna turn on my guides so we can see right here in the center. - We're gonna want to spin knees around. - We're gonna have to first duplicate the layers here, - and then we're gonna it transform. - But it right there in the center. - I'm holding down shift here so we can spin it. - You can see it at the top. - Where exactly? - At negative 45. - It's matching up nicely. - Since we're right here in the center of our guides. - I'm gonna copy those layers again. - Duplicate him Command T for transform. - Gonna grab our CenterPoint. - I'm gonna put that right here in the center of our guides. - And I'm going to spin this one at 45 degrees holding down shift. - Actually, - 90 here to get it all the way across. - And now you see, - we've got 1/2 s o what we could do here. - Um, - we could merge all of our lines. - I'm gonna do that real quick. - I like to just kind of keep everything straight As I go along. - We've got lines, - lines, - lines. - I'm gonna merge those layers. - So we've got half the lines. - They merge Oliver pattern layers, - got patterns some minutes gonna go ahead and duplicate that all together command t but our - centrepoint right in the center of our guides. - And let's spin it around. - I can see if we hold down shift. - Get it Exactly. - Okay. - Alright. - Looking pretty cool. - Uh, - if you like in turn off your background sketch at this point on, - go ahead and merge my lines again. - Keep everything clean Now. - We just got patterns and lines layers again. - Um, - first, - make sure all of your lines are working. - I could see it looks like we're pretty close. - There's a couple of sections here, - I think where it's not lining up, - exact. - Not that big of a deal. - We can go in there manually and do it and kind of the white while like working in photo - shop rather than illustrator is it gives it a more of a hand drum. - Look, - I think when you're working this way. - So let me just go back in here and start kind of fixing up my line. - So I'm gonna go ahead and do that. - You could do that in years as well. - Just a racing and filling a few of these areas. - Okay, - so at this point, - I've got all my lines connected. - If when you when you flipped your your lines, - if if they were way off, - you may want a just, - you know, - started over and adjusted again and fix it so you don't have to do each piece individually - . - Uh, - if it's pretty close, - a lot of times, - I'll just keep drawing it. - Keep filling in. - Everything going around, - making sure I got it. - Okay, - Now my lines are connected. - I'm gonna turn on my patterns and make sure that looks pretty good. - Gonna turn down the passage e of my lines just to make sure the drawn in the right spots - here. - But let's go ahead and fill in the pattern areas and I'll show you why Later on in the next - units, - while we've got our pattern in our line separated just so when we're adding color and - highlights weaken drawn side, - these lines and put highlights on top of patterns and get a little more technical with it. - Don't just go around and feeling all your blacks, - Okay? - Now that we've got all of our blacks filled in black pattern areas, - turn that back up. - I've got some half shading here, - and let's go ahead and fill that in the magic one. - Click all of these areas that have been filled yet. - Okay, - so that covers are lined art phase. - So, - uh, - this in the next unit were going to be getting into, - um, - coloring so And if you like at this point, - I'd love to see your line work. - So go ahead and post and get some feedback from the rest of the students, - and I'll be checking these out as well. - Um, - and we'll see you in the next unit. 10. Filling In Base Color: - all right, - now it's time to start filling in some colors. - Um, - I think this is gonna go pretty quickly for you, - and you can pick any color palette that you like. - Lately, - I've been into kind of using the whole color spectrum in my artwork. - So I kind of like to start with a C M like a scion magenta, - yellow and black type of look. - But you can really use anything that you like. - Let's start out by. - Let's we don't need these layers over here anymore. - We're done with our sketch. - We don't need the lines any longer. - So let's go ahead and throw those away on. - You can see you still need to have your patterns and your lines on the separate layers - because we'll be using our magic one tool to block off some colors. - Eso Let's just get started here. - Let's click on the lines layer and, - um, - been a just I'm gonna fill in this whole shape first with with a base color. - So I'm gonna go to my action here, - expanded a little bit so that my colors, - uh, - nicely within the lines is clicking this a few times. - Make sure my colors inside. - Just gonna inverse the selection. - I need a new layer. - I'm gonna fill this with yellow. - All right, - So I'm gonna create another new layer Click back on my lines, - layer. - Next, - I want to work with Scion. - I was gonna select all the areas that I think would look good with scion, - and this is gonna be ah, - a little bit of trial and error. - You know, - just start playing around filling in some colors that you think work. - And, - uh, - I I like really, - um, - contrast the colors and sections and highlights in the shadows. - So I try Teoh use contrast in colors as much as possible. - I don't, - you know, - have kind of break break up the different color section. - So you get the most amount of contrasts in your piece. - Don't forget to expand here. - I'm expanding three pixels out of time. - Um, - this is gonna help when we're rotating and flipping our color. - Um, - when we're gonna duplicate these layers, - what you want to do also is make sure that, - um, - your selection is covering all of these points. - A lot of times, - you have to just kind of manually make sure that that's all selected. - That's what I'm doing here. - It's pretty good. - So I'm gonna call this science next, - Gonna do a magenta layer and you'll see I'm really just kind of working in this one section - here, - just like the rest like we've been doing, - We're gonna duplicate flip six pixels on expanding it, - actually go nine here. - We'll fill in some of these to be sure. - Feel that gente and just look around and see if there is Ah, - And yet anything else you want a color black in? - I see a little spot down here. - Most are gonna be adding some whites to design here. - It's kind of like second, - I have also make that white and also in my patterns. - A lot of times I like to use white and then, - um, - do a kind of a gray scale toe. - Keep some pop in contrast, - and in this pattern section, - you'll see here, - um, - I, - uh I should have probably put those pattern lines on the pattern section, - but I could just go ahead and select us the manual way. - But if you keep all of your patterns on another layer, - you can easily use the magic wand tool. - So it's a little less in there. - Okay, - I think I've got all my color blacked in. - So here's the cool part. - What we can do again is select. - It's like my white magenta cyan gonna leave the yellow because it's all filled in. - Duplicate the layer. - Okay, - command T turnout my guide, - and put this center point right there in the center. - Zoom way in so you can see that it's hitting in the middle. - Um, - go up here and put in 45 or you can hold down shift whenever you like, - twice. - And I'm just going to rotate this around a few times here until the colors all blocked in. - Okay, - so now I've got all of my color blocked in next. - I just want to clean up my layers so that we've got a nice clean file again. - I'm going to start with weight. - It's holding down command, - selecting all my white layers and merging do magenta. - And you also want to kind of inspect this. - Make sure that all of your color is within the lines. - If you need to make any updates, - or you need to start over and make sure that you have, - but you're Centrepoint properly in the center when you rotated. - But since we expanded our selection when we filled in these colors, - it should be pretty close. - Should be pretty good. - I don't think I needed to make any changes before emerge. - I'm just gonna clean up the names here, - so it says white gente science. - All right, - so now we are set, - we're all colored up, - and we're gonna be getting into shading in the next section. - This is where it's really going to start coming toe life. - So I can't wait to show you that one. - So, - uh, - go ahead and upload what you've created when you're ready. - Um, - and I look forward to seeing everybody's pieces. 11. Add Shading, Color Gradients & Highlights: Part 1: - in this final unit will be shading and adding highlights and really bringing our designs - toe life. - And I've got some pretty neat tricks that I think that you'll like. - Um, - over the years, - I've worked with a lot of different techniques for shading and color. - Um, - this is one that I've developed recently. - Um, - and it uses some self brushes and some highlights, - and it really gives a nice sense of volume, - I think on. - And it's also a lot of fun to work this way. - So let's get started. - Um, - one thing that I'm going to start doing here is, - um, - making some areas that will help with our selection so we can get some nights sharp brakes - without having to have black lines breaking everything. - So I'm going to show you that real quick, - and it's similar to how we set up our template file. - So I'm going to start out with a new layer. - Uh, - I'm going to switch my color. - The black gonna use my guides. - What I'm looking to - do is, - uh, - um, - create some areas where we can just use our magic wand tool to selecting color. - So we're going to duplicate thes and spin him around. - Gonna hold down shift and first time. - Let's do this. - Let's put it at a negative. - 22.5. - That's gonna give us a line right here in the center. - Okay. - Twice. - Inter twice there, - then gonna duplicate and hit command T. - Once we've duplicated that, - we can hold down, - shift and spin it 45 degrees. - This is gonna be kind of our selection area. - Um, - show you what? - I mean, - here, - let's go ahead and just, - uh, - merge these and I'm gonna it select all selecting the whole art board. - I'm gonna hit command shift. - See? - Which is gonna copy the merge? - It's not gonna copy. - Just this layer is copying the whole merged, - um, - document with all of the layers. - And then I'm gonna hit shift command V, - and that's gonna paste it right in place. - If you've got an older version of photo shop, - it won't do a place paste in place. - So you might hear air sound or something there. - It doesn't really matter if this is the whole document, - so it'll put it right back in the center. - I'm gonna turn the opacity down to zero, - and then I'm gonna get rid of these lines. - I don't I don't even need those anymore. - Um, - and you'll see if we select inside here for clicking on our selection layer, - this is just help us create some nice clean selections. - All right, - So I'm gonna just call this, - uh, - trends, - trends, - parent selection. - Okay, - so let's turn our colors back on, - and we'll get to work. - Okay? - So if we click on our transparent selection, - we can use that for all of our magic wand. - I'm going to start out right here again. - We're gonna want to make sure that, - um, - it's gonna go all the way up to the top here. - And I've created an action to expand three pixels. - So since that's a six pixel line that we've got six picks a line you see there, - um this is gonna put it right in the center of that line. - I'm just going to make sure that it actually goes all the way up to the top point there. - And now we get to start coloring. - So our shading on top of on top of our yellow here, - um, - so I'm gonna make a new layer. - Um, - I'm gonna call this magenta multiply because I'm going to set the blending mode to multiply - . - And then when I use when I use my brush tool on top of the yellow with the multiply layer - here, - Okay, - so now we're just shading inside and you can see, - you know, - appear where we get that nice, - clean selection line. - We can do some pretty cool stuff with shadows. - So, - um, - it's just undo Undo that real quick, - and I'm gonna just give it a little bit of shading on this side on the magenta. - If you say you used green here or something like that, - you could put blue on top of it. - And you could see if you want to use a multiplier, - you don't want to use the multiply. - Sometimes it will work fine to like it's them. - I just put that on normal, - and I wanted to do science there. - I could get a nice green, - um, - if it was set to normal, - You know, - you didn't get a blue that turns to green there. - It just depends what looked that you're going for. - So me undo that you can get a nice range of colors. - This way. - Uh, - I'm gonna keep a nice kind of fiery color. - So I'm going to use magenta, - do you? - And so all right, - so just darkening that up more times, - you click it the dark, - it'll get. - Oh, - and, - uh, - I'm using my soft brush that we created earlier for our sketching. - Um, - that one's back down. - I've got mine. - Said it like an opacity of around 35. - 30 to 35. - And I've also got this turned on here, - which will allow the pen pressure toe allow how much color is coming out and to soften it - up. - You can even a race here. - I've got my eraser set to that, - uh, - self to brush, - and it's got an opacity of 23. - So, - uh, - gonna add that right there? - I'm gonna come up to the top and a little bit of shading here. - And I wanted to be a nice highlight here in the center. - You can see. - See what we're aiming at right now. - Um, - just to show you kind of what we're doing here, - I'm gonna add another layer here. - That's going to be a black shading. - I'm just gonna call this shade. - I'm going to use black And this is where I would go to, - uh, - dark black and a little bit right here. - You can see we're getting, - like, - some nice ranges shading already. - Once you drop it in there, - you could add some more magenta to your magenta layer, - whatever you I wouldn't do. - But just play around with this a little bit here, - Um and so, - you know, - also, - I'm gonna add also white highlights. - So I'm gonna name this layer highlight, - and I'm just gonna add some highlights here in our highlight layer. - So just kind of be a nice kind of glare reflection coming off of this in kind of. - Here's I'm doing this. - I'm just kind of tapping over and over to get a darker in this case, - more white highlight. - I also like to go around the edge and at a bit of a shine there, - too. - Um, - I just bumped up my capacity a little bit. - It's kind of do a bit of a white I laid around it. - This you'll find this adds a nice bit of, - uh, - contrast. - You know, - like going around this section here. - I've got a black, - and if I just do a nice white. - I laid around the edge, - and it's also you'll hear a lot of ambient sound here. - I'm downtown here Friday night. - So, - um, - next to a bunch of bars and, - uh, - music venue. - So you should hear some some pretty interesting characters outside the door. - So also on the other side here, - I'm adding some highlights. - Whenever possible. - I like toe have dark blacks and white highlights. - All right, - so that's kind of the basic idea there. - And we're gonna go around the rest of this and to start coloring up. - So I'll give you example, - um, - of the blue here so you can see him doing kind of shadows on the right. - And I'm gonna do more of a kind of highlight on the left interactions gonna boost that - three pixels. - You probably want to do to make an action for yourself as well, - cause I'm gonna be doing that a lot. - Just make sure you've got it selected. - And since among science layer here, - I'm going to. - So I think we can work with magenta. - That's what's fun. - I think about this. - Seemed like a type of palette. - I'm just using three colors and I could get a whole range you can see here. - If we said that the normal we would get like a pink toe purple. - This is magenta on my magenta multiply layer, - doing the same type of tapping over and over racing. - Then I'm going to create a yellow shade layer. - It's not really a shade, - but more of a highlight. - Either way, - get some pretty rich greens and yellow is going on. - If you race, - you get really kind of smooth, - radiant men shade layer limit and Cem blacks. - And the bigger your brush size is, - the more, - um, - clean your radiance they're gonna be. - That's why I like to make thes selection lines because it allowed me to make my rush really - big. - And I can get a nice, - clean, - radiant. - See, - I'm gonna move my highlight later above the shade there, - and then we can do the same things. - Add makes white. - I like that center. - Um, - you could actually put it around. - The edge here is well, - wherever possible to give more contrast creates a volume. - This would be kind of behind the leaf here. - So, - uh, - kind of a race where it would be in shadow right next I want to demonstrate this area here - where we kind of have more of ah, - highlight in a darker area. - So let's just go ahead and select that are transparent selection layer span three pixels, - and I'm clicking at my magenta multiply layer and click on whatever color you've decided. - Hide that. - I'm gonna shade it up shaded here. - Okay, - So add some shading there, - and what I'm gonna do is, - uh, - and some highlights here rather than shade so we can have a nice bright contrast highlight - layer. - You knew little racing racing here. - I would add a shade down at the bottom. - You just make that nice and smooth. - Okay, - Back in the highlights, - they had a little bit of white and this would be in shadow, - so I was gonna race that away a little bit on a little bit of a highlight on center here. - There's a little settled touches. - I think that really put the icing on this thing and make it get popping. - Stand out. - Cool. - So that's the basic idea 12. Add Shading, Color Gradients & Highlights: Part 2: - could be a little demonstration on the white layers here, - we've got our patterns on. - Oh, - yeah, - This is, - um it's kind of an interesting dilemma here. - Um, - so you'll see where I've got my selection layer with my lines and all my patterns and stuff - , - you won't be able to kind of select inside there, - but we'll be able to select inside of our lines. - So this way we can continue Teoh be able to grab that selection. - It might have been a good idea to for me to turn off my patterns. - Um, - when I made that transparent selection layer, - but this works just fine. - You can click back on your lines. - Um, - layer when you need to. - You can click on the transparent selection one. - When you want to get these selections inside the lines like we made example there, - see if we click on the lines, - we could get that selection. - So, - um, - no problem. - Just select here. - Spanned. - Make sure it's all inside yet, - and in my shade layer, - I that when it turned this back down to around 30 you just start kind of shading up this. - I want to make this look like It's almost like a rounded tube. - You know why? - But this feels right. - Maybe the top is a little bit shaded to. - And just with my eraser to smooth things out, - Just kind of a race over. - I'm going to see if I can kind of get a nice, - like, - uh, - Blair highlight. - Um, - maybe I'll put one right here up at the top, - and we wanna put Want to make sure highlights are over top of our pattern layer. - That's why I had you put the patterns on a separate later as well, - because we can get a nice kind of shine on top of their, - which is pretty cool. - Effect one to see it. - And it might be cool to do good of. - Ah, - shine in the center here is well, - just making my brush smaller and smaller. - You can always take a big eraser in a smooth that out A lot of times to will put highlights - on a couple of different layers. - That way I can erase more freely. - Don't worry about erasing parts that I wanted to keep. - That seems to be working. - All right on. - It's kind of make sure you're following the right lines here that would make this look - rounded. - This was obviously being a bit of a shadow shadow. - Here, - you just play around with it until you get a look that you like back up. - You can see that it looks like a nice, - shiny, - shiny highlight. - So play around with some highlights. - Get some pops and dimension. - I'm going to just work through the rest of this all time lapse of a little bit so you can - see me go and then rotated around soon here. - So just hang on, - we'll draw it all up. - - Okay - ? - Just to point out, - Well, - we're just gonna be shading of this section here on everything in between. - So we're creating our our shade like we did here, - and our highlights on this side, - um, - will be filling in the shading here, - Um, - kind of doing our highlights here. - Same will go across. - The rest of it will shave and highlight. - And then when we're ready, - um, - we filled in. - Everything will be able to flip it, - rotate it so that what we filled in here will fill in our highlights here in the shading - that we've got going on here will flip over to here. - So you'll see that as a zai. - Get to that point. - I'm just going to start filling in the rest of the shade and highlights s so you can see - along with the time lapse, - and then we'll get into flipping. 13. Add Shading, Color Gradients & Highlights: Part 3: - All right, - So now that I've got this whole section shaded center area here, - the next thing we're gonna do is duplicate. - Our highlights are shade or color shade layers. - And we're going to spin them around at 45 degrees and watch this thing come to life. - So I'm just gonna start grabbing my highlights all the way down to my magenta multiply. - There it duplicate layers transform. - And then I'm gonna turn on my guides again, - and then you want to make sure that this Centrepoint goes right in the center of your - guides here. - It will be very important to get this exact zoom way in. - Back out. - Hold down, - shift and spin that around at 45 degrees. - You can see this is we've got all of our layers duplicated and rotating. - Hit okay there. - And this is gonna be in multiple two of two. - So it would be faster if I just go ahead and merge my like layers together. - So the highlights are gonna get merged together. - My black shade layers I'm gonna merge together, - I sigh in, - multiply layer and you can see when I merged those again it goes back to the the normal - blending mode. - I want to sit that back to multiply, - uh, - yellow married to that And lastly, - my magenta multiply layer gonna merge it set the blending mode back to multiply. - So now I'm ready to grab these again, - duplicate the layers, - and this saves you a lot of time. - It may look a little bit complicated here, - but not really. - Just watch the video over. - If you miss something and try it again, - it's really not that difficult. - So let's put this right back in the center. - Make sure we get it lined up and then hold down shift. - Now, - we've got a new set here. - Then I'm gonna copy that again. - Not merge, - but duplicate transform. - Put it right in the center. - So I'm just gonna flip this around a couple more times, - and then we'll finish this guy off, - Okay? - So it's looking pretty good. - You just want to make sure that there's no little parts kicking out here a lot of times. - What you can do is grab your your groups of layers here, - and, - um, - just bump him over a little bit to get it to work. - I'm just gonna bump this up and over to get it to match. - Then I'm gonna grab a couple of these something that you can see kind of how it falls into - line. - There shouldn't be too far, - you know, - just a couple of pixels or something like that. - And since we've expanded at three pixels, - we've got a little bit of wiggle room to play with. - And you just want to go in and see if there's any areas that you need to clean up. - I can see here. - I've just got a couple little sections that I can put some final touches on to make sure - everything is perfect. - All right, - so here's my completed illustration. - The last thing you'd probably want to do and this file is just go ahead and clean up your - layers. - Merge the ones with the same names so that you have Ah, - nice, - clean, - versatile file. - You could always change your color palette whenever you wanted Teoh. - And another cool thing that you could do, - since everything is on separate layers can invert the background. - You know, - you could invert your lines layer, - give it a new look with white lines, - or you could do colored lines and change it up and, - yeah, - do all kinds of new stuff with it. - So now it's your turn. - So get in there and start shading up. - You're drawing. - And I'm really looking forward to seeing what all you guys have been working on. - So please post your artwork so we can see it, - and your peers can review it. - Um, - And if you enjoy the class, - please give me a good rating. - I'd love to, - uh, - do another one in the future and show you some other techniques. - I've got a lot of different styles that I work with. - And, - uh, - hope you had a good time. - Thanks again.