Introduction to Photoshop: Digital Painting and Illustration | Damien Mammoliti | Skillshare

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Introduction to Photoshop: Digital Painting and Illustration

teacher avatar Damien Mammoliti, Digital Illustration Instructor

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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.

      Welcome to Photoshop!


    • 3.

      Understanding Layers


    • 4.

      Making Brushes


    • 5.

      How to Set Up your Still Life


    • 6.

      Making Thumbnails


    • 7.

      Painting and Blending


    • 8.

      Painting in Color


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About This Class

I've been exploring different illustration mediums since I began making art, and mastering the basics of painting on Photoshop has made my process more efficient and marketable. Your skill set will have more variety, and will be more applicable to the creative industry as a whole. In this course, I am going to share my process with you!

We will cover the basics of Photoshop for digital painting and illustration. The class will explore tools and techniques for translating color theory into the digital space.

Photoshop is a key program used in all creative industries. It is critical that an artist understands how to paint comfortably in Photoshop, as it is a versatile and efficient tool. From concept art to book illustration, Photoshop can be used by painters to broaden their potential client list and students can learn to apply this skill to an industry of their choice.

What You'll Learn

You will learn the basics of using Photoshop (CS3 to CS6) to paint digital illustrations. We'll cover:

  • Assemble your Still Life. How to set your scene
  • Brushes. How to create unique brushes, techniques for illustration versus print
  • Layers. How to use layers, adjustment layers, masks and groups
  • Color. How to capture color theory digitally
  • Tablet. How to use a drawing tablet

What You'll Do

You will use Photoshop to paint a still life setup assembled by objects or themes you wish to use. You will translate your still life into a digital medium and complete one painting. This will include a series of color tests, a black and white mock-up, and a final painting. A final piece should take as long as you deem necessary in order to be as familiar with the program as possible.

Meet Your Teacher

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Damien Mammoliti

Digital Illustration Instructor


Damien Mammoliti has studied art his entire life, and graduated with a B.A. in traditional illustration from Academy of Art University in 2009. Since then, he has worked with numerous clients in the game industry.

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2. Welcome to Photoshop!: - Hello, - everyone. - And welcome to the first video in this lesson for introduction to photo shop for digital - illustration. - My name is Damien. - Mama Lini. - I'm gonna be your instructor for this. - Siri's today. - We're just going to start off. - Simple. - If you have not ever been introduced to photo shop before, - you've never used the program. - This video is going to help you figure out the basics what the interface is all about and - how we're going to go about using the program. - So in that case, - let's go ahead and open up photo shop to start off. - We have our interface. - Over here. - We have our toolbar, - which is our basics. - We have our pointers. - So if we had a program open or a file open, - we could just use this to drug around our layer. - Whatever. - Later we're using, - um, - our selection marquee tool, - which, - if you hold down, - you'll see that there are different types of selections to be had different shapes. - Um, - your lasso tool, - which is a free form tool if you want to use that for of just basic, - um, - selections as well as the magnetic version of the polygon, - which is just straight lines. - There's nothing really fancy about this one, - um, - your Magic one tool, - which will select or try and smart select sections of similar types of values and colors. - So if you had your whole black background and you wanted to use your magic one tool in - order to get rid of that black background, - you could try and select it by just using this. - And you can probably then delete it, - um, - the crop tool, - which you can use to just resize your image if you want to do it manually. - Otherwise, - there are there ways to go about that, - um, - the eyedropper tool, - which is your color selection. - So if you are going to select a color that you see on your canvas and I do this a lot, - it's a very important thing to have, - um, - spot healing and eyes, - mostly just for photograph some. - You can use it for painting, - but I don't foresee is using it too much in this program. - So, - um, - paintbrush, - which is obviously your number one go to we're not going to be using much of anything else - in this program other than the brush tool. - Uh, - your basic brush tool and the pencil tool and replace her and mixer. - We're not gonna worry about thes too much in this program. - Just focus on using your brush tool. - Um, - the clones stamp and patterned stamp tool. - Again. - I don't think we're going to be using this too much history. - I don't use this too much. - I know that there is a way to have your history up here, - over on the side of your screen if you want to. - You see the history of whatever it is that you're doing in photo shop, - so it makes it a bit easier to just another do some of the damage that you may think you - have done to your picture. - But, - uh, - for the most part, - I don't endless. - You really are familiar with this? - I wouldn't worry too much about it right now. - Um, - the eraser tool. - Obviously very important as well. - If you are working on layers, - if you want to. - You getting just use the hockey for E on your keyboard to select that one. - The Grady and tool and paint bucket tool. - We probably might touch on these. - I think it's a good way to just drop in some Freehand colors and you know, - values and not worry too much about getting particularly accurate Grady INTs in your - picture. - So if you want will probably be able to cover this the blur, - tool, - sharpen and smudge. - These are I guess it depends on who you ask. - These convey be damning as well as the ah Dodge burn and spun shul. - These are especially this smudge tool. - How these air all tools that some people will tell you you should never, - ever touch them were, - for the most part going to try and avoid thes for this introduction because they aren't - really gonna help you to understand how to paint in this program without being confused - about, - you know, - burning all of your darks and lights and using the blur and smudge to blend things. - Because realistically, - as long as you know what you're doing on how to blend, - you will not need these. - You will not need to smudge tool. - So don't worry too much about it. - Right now. - These are your vector based options. - If you want to make a vector or a shape or anything of the sort, - you can use the pen tool. - I don't Perseus using this, - it's a bit more advance, - so we'll just leave that, - um obviously, - they're your text tool, - which is for adding text to your program. - Um, - the past select which, - if you have, - ah shape or ah, - vector some sort. - You can use this to select the, - uh, - verte sees on your points, - but again, - we're not going to use this too much. - Um, - your basic shapes rectangles. - You can make these into flat shapes, - or you can make them into vectors, - depending on which you would like to do. - You can select all of those options up here in the top of your screen again. - We're not gonna worry too much about it. - Three d object and you have rotate pan. - We're not gonna be doing three d. - So none of you guys are gonna have to worry about this. - The hand tool and the rotate thes are semi porn, - I guess. - Ah, - for me, - the handle, - I think, - is bound to, - ah space as an add default. - So if you have ah picture open and you hit space bar, - you will be able to drag the image around depending on how zoomed in you are. - Anything like that again. - The rotate tool. - Similar but you in this program, - you should be able to have this as an option available. - If you're in CS three and later, - um, - you can just use our as your default key. - For that. - You can just hit our and your canvas will then rotate, - and it can be useful if you are, - you know, - zoomed in and one. - Get a bit of warm, - unnatural painting field to your picture and resume to obviously zoom in. - Zoom out doesn't really matter for me. - I go over here to the Navigator, - and when we opened up a picture, - I'll be able to show you that. - And I use the slider bar a lot more than I do this tool, - mostly just out of convenience. - I don't like having to hit Z, - and then figuring out if it zoomed in, - resumed out. - You know it's for me. - It's a bit faster, - and that's that's all. - And if you if you ever get stuck and you realize that you've hopes I've pulled my toolbar - out and I don't know how to get back in, - just bring it over here and it will automatically snap back down here. - We're going to have our colors. - And I said this to the H for Hugh because I don't I mean, - it's easy enough for me to select my colors this way, - and I don't I can see all the ranges. - Other than that, - we obviously have a bunch of stuff over here. - What is all this Crab? - Uh, - um, - main bridge. - Unless you're using bridge to browse your files. - I don't think you're going to need this too much info unless you are doing, - you know, - specific work with the size of your image. - I don't think it will be necessary for painting and seen here effects. - We are not really gonna use this too much. - This is all fancy stuff that Photoshopped can do with filters and shapes and like, - kind of stuff. - But we're not going to try and use that for this part of the program. - These are adjustments for layers. - So if you have a layer that's has an adjustment layer, - which we will go over later on, - you can obviously have it here and adjusted as much as possible, - which you can also adjust once it's over here in the side of file masks. - Similarly crueler is Ah, - this is something they have introduced. - I'm not sure if it's in three or four. - I think it's only in CS five and six. - It's basically a program to make what kind of color scheme you want for your picture. - You can then save it and you can even, - I think, - uh, - at its your swatches. - Um, - this is the brush menu will go over this in detail in another video. - It's a bit complex, - but it's not too bad on our presets, - but shy unless you are messing around with making presets, - I don't think we're gonna need it too much. - Okay, - so you open up a new file. - What are we doing here? - We can title this sample. - Why not selection for your pixel range? - I prefer going pixels rather than inches or any of these others because it's more knowledge - based for me. - So if I know, - I know what I know on average would 5000. - My 4000 pixels looks like the resolution. - A lot of times you probably hear somebody say, - Well, - we needed at 300 dp I of or anything like that. - So if you want you can set it to 300 d p I. - We'll be working in rgb color because C. - N y que and lab are two other types colors that are hard to work with. - C N y que might act a little bit funny because it's rendered a different way than RGB. - And your monitor right now is working an RGB color. - So it recognises it a bit better and will be able to understand that a bit better. - And we working at eight bit in the next video, - we'll go over some of the basics on how to use this program and what we'll be doing with - this program in in relation to, - you know, - using our brushes and what all these layers mean over here. - And what the hell is this down here? - And vibrance and human saturation? - Heck is that I'm asking, - What the heck just happened up here? - I don't even what's going on? - Okay, - well, - we'll go over all this, - uh, - in the next video, - Say it do and we'll see you again in the next video. 3. Understanding Layers: - Hello, - everyone. - Welcome back to part two of Understanding Photoshopped as our introduction today. - We're just going to get a little bit into understanding the layer system on what it is and - what you can actually do with it in Photoshopped. - Um, - for instance, - let's start off by introducing the layers as they are. - Uh, - over here is where your art. - If you've set it up the way I have it, - your layers will be over here down here. - We'll have some options for your layers s so you can go ahead and, - well, - let's go ahead and make a new layer and you can see that it already has given us layered um - , - these air all their options multiply overlaying color dodge sometimes soft light being the - ones that I use, - particularly the most. - They can go over those quickly for you. - For instance, - let's start off by while it's to make a purple squid, - right? - Not. - And the good thing about this purple square on this layer is that now you can see - everything behind. - It is now Alfa channeled, - which means that there's nothing underneath it so we can move this around freely in you and - because of this. - If we were to bring up a layer behind it and put a gray, - that purple would still be there. - It's now unaffected and weaken even further. - This say this is where we want our layer. - You can lock it, - and now we can no longer be altered. - And you can even see photo shop will now complain to you because you've locked it. - And what do you want for me? - Um, - but you can always totally something off other lock options. - This is the position lock. - This is the brush luck, - meaning that you can no longer paint on it. - Right, - Because you're brushed, - your brush to layer is locked and you can't alter it anymore. - So if you find yourself needing to block yourself from accidentally missing up something - and you want that layer to be perfect than that is a good way to prevent yourself from - doing that. - Otherwise, - let's try some options here. - And what's gonna happen when I take this Purple Square and put it on? - Multiply Well, - it disappeared. - What happened most of play. - If I were to remove the black, - it's back. - And why is that? - Because anything on black if you try and multiply it. - It will be black because there is nothing to add to black, - according to photo shop. - So multiply is to layer on top of. - So if I have this black and if I go to layer and duplicate the layer, - my purple is going to get a lot darker purple because now we are layering these two purples - on top of each other cause they're both off multiply, - although this bottom layer won't need it on Lee because it's on a white background. - White backgrounds. - If you try and multiply on top of them, - nothing is gonna happen because it doesn't add anything to white. - White is just a blank canvas. - According to photo shop, - Um, - overly is a bit similar, - except it works a bit more with adding but darker purple. - Because we noticed that theme. - The purple is a bit dark on value range, - but if we were to go to human saturate, - which is command you or control you depending on what operating system you're using, - uh, - we can increase the saturation of it. - We can go to the hue and we can change it to a blue or we can change it to a red, - and then we can increase the lightness. - And now we have this salmon esque color. - But if we were to have this purple underneath it and we put it back to overly, - it's gonna look a bit different. - And that's something that can be used as an effect layer, - because you can use it to make a bit more color. - Make it pop. - If you notice your pictures looking a bit dull, - you can always take a take a Grady int layer. - For instance. - I would go to here to the Grady into and let's get a nice yellow because yellow light is - always a good thing. - Um, - and then we'll go and put this on normal the capacity to about 50%. - Why not? - And then let's see what happens. - As you can see, - we got a bit of, - ah, - brighter light coming in here. - The same goes for if we were to let's take a bit more of, - ah, - darker purple blue. - You can see you even at this percentage were getting a bit of ah ingredient on both sides, - and we're kind of leveling it out, - and we're even punching up the colors because of it. - And that is because we're using a yellow light, - which always will punch up your color as it would in natural sunlight. - If you could imagine it that way, - Um, - and we're cooling off the shadows, - and that's an idea of what overly would do if we were to put this back on normal. - You can see that it's not not quite what it looks like. - This is only because we are on a white background. - If we were on any other killer backgrounds beside black, - obviously, - because black has nothing. - If we were, - you had to go to gray. - You can see that it's still is doing this. - So what happens if we do color dodge about the same? - But it will burn most of your colors instead with ah, - lighter color of everything. - Black will not work on this layer. - Black will not add anything on a color dodge layer, - so you are mostly just adding lightness to whatever it is you do when you are saturating - the colors by using this color. - Dutch similarly, - can be said about overlay, - but it is more of a pale version of over late. - It's not a strong as the overlay layer is. - So that's why I particularly use overlay a bit more than I do the soft light. - Now, - if we were to keep this on overly Okay, - what do we do about this? - We We want this shape too. - Have this color. - But we don't want the rest of this to be here. - Well, - that's where masks come in. - So if we were to control or command, - click on your layer on the some nail here you will automatically get a selection of your - shape. - And Photoshopped has a bit of a hard time with identifying edges this way. - So if you want, - you can go to select, - modify, - expand. - And you can expand this by even just one pixel. - And that way we can go back to this layer and make sure you were on this layer that you - want to mask. - We go down here to this square with a circle eight and we hit that button and now we have a - mask. - It will always default you to selecting this mask And on this mask weaken do lots of 50 - things as long as you have white, - pure white. - We can now be adding to that mask, - as you can see, - and here by example, - so on and so forth. - This is a handy trick because you can make interesting patterns If you wanted to, - I could go ahead and make a lot of interesting patterns with this. - And the cool thing about it is that you still get that Grady in in there, - and you can always change it up, - too. - So if you wanted to saturated change its color, - that sort of thing. - You can do that, - but otherwise that is the basic idea. - And if you want to a race on your mask clear, - you just go back to black and you get rid of it. - And if you want to just edit the layer in particular, - click on the thumbnails and you will be able to do that. - And now you'll see if we go on get If you go and get a blue, - it's only going to alter, - and we're still on overly, - by the way. - That's why we're still getting these funny colors. - No matter what I'm choosing, - Um, - and here you can see that even on the thumbnail, - possibly you can see this, - that these lines air stretching much farther than the mask is allowing. - So we're only getting this as a window, - so it's imagining as a cutout board on top of your layer, - and we can use it that way. - Now what happens if we want to adjust the overall image? - You can go down here and if we want to change something like the levels in which case will - change the levels of the entire picture. - But what about not wanting me to change the levels of what I have here on the mask? - That's what this is for. - They have already offered you a blank mask, - So if you would like to add to it, - you want to halt and then click and drag up to the next mascot. - It's already blink. - Replace the layer mask. - You know why not? - And even now we can see that we can still mess around with this if we want to, - we can make a burner. - We could make a darker We can do whatever we want with it because we have these masks, - that's it will get back to you on the next lesson involving creating and making brushes 4. Making Brushes: - Hello, - everyone. - Welcome back to introduction to Photo Shop in this portion of the introduction will go over - brushes and what it is that you could really do with brushes. - Um, - my brush right now is the default brush up here is your brush menu is gonna see. - I have a lot of brushes that I have collected over the years. - I don't use all of these, - but it's good toe. - Have them. - If you find them, - you can always just import them. - Easiest way to do that is to go to this little arrow up here and say load brushes and you - can load them up. - And you can even ah, - even append them to this, - um, - this list that you already have. - So it should be easy to get that If you were to want to edit, - say, - I have this basic ground brush, - I go over here to the brush menu over here on the side. - We'll pull that out so it doesn't go away. - He comes up with his menu and you can see a sample of what it is that the brush does. - So if I were to use this brush, - that's basically what this brush does, - and with spacing. - I prefer a bit smoother spacing, - which means that I lowered the percentage about 25%. - So there's a bit of texture in there, - and it still offers a nice, - smooth, - radiant. - And spacing is just a matter of yet how spaced out this is. - So I prefer 5% or around there. - Um, - it depends on the brush, - though. - Transfer is mostly to give you that faded. - Look, - this is in CS five and six NCs three and four. - I believe you will be looking under color dynamics for this, - and it will be called the A pastie Jeter. - You can look that up and it will. - You can obviously jittery it and make it more random if you prefer that kind of feel to - your brush. - But otherwise I keep it fairly smooth, - and I said it depend pressure, - obviously. - Otherwise, - it won't work as intended. - Um, - other than that, - you can change the shape dynamics, - which means that you can change the size, - shape, - the different variations of it's the minimum diameter. - Sometimes I like to use a bit of a fatter brush because it will blend a bit better so if I - were to, - like, - select that color and try and nicely blood that in that would work a bit a bit better than - if the thinner and harder brush. - Because if I were to get thinner and harder brush, - it makes it hard for me. - Teoh smoothly transition between them because, - as you can see, - it's kind of just pecking away at it. - It's not really working too well, - so if you change the minimum diameter to a bit more of a reasonable percentage for blending - , - you can see it covers a bit more space, - and it's a bit easier to blend your colors together. - And that's how I say abuse the brush system in order to blend my colors a little bit better - in photo shop. - Because this isn't painter and painter has a bit easier time blending colors, - but in photo shop it's still obviously possible. - So other than that, - we have things like scattering, - which, - if you want more texture, - some funny funniness to your brushes, - you can always do that. - I find needs to be a bit more chaotic. - I like more under I make brushes that orbit more under control than that, - so texture you can always add a texture. - As you can see here, - it's using a texture that I have already pre loaded in here. - It has some default ones. - If you want, - you can load your own by just going here to add another one. - Um, - and this will obviously just add a bit more of a texturizing. - Look to your brush, - which isn't a bad thing, - especially if you're looking for a bit more realism in your works. - Um, - doing so will add a bit more of, - ah, - flair and list of that digital look to it, - which a lot of people can easily recognize. - Um, - if you want to look at, - make it a little bit more like natural painting or something of the sort, - that's a good way, - Teoh. - Give yourself a bit of an option for that. - Otherwise, - you can always layer textures on top of your your picture as you're working with it. - Do a brush is just a way to take to pressures and mix them together. - Um, - so as you can see it already, - I think chose a random brush for me down here. - If I wanted to, - I could go to any one of these and mess around with it, - and it will give me different types of brushes. - The only thing about this is that it will sometimes slow down photo shop because it's - trying to render from two different brushes at the same time. - And if you have a really big brush and a really big canvas, - it'll slow it down a little bit. - But it's a nice way to add a bit of color and flavor, - texture, - anything that you might want. - Um, - for color dynamics, - you can just change the huge inter and capacity, - so as you can see it, - it messed up my brush. - But you can go with saturation, - brightness, - foreground background, - jitter. - I mean, - you can mess around with this and get a bit of an idea of what it does. - But, - um, - it can be a bit complicated if you're using a flat round brush. - If you're using something like a texture brush like a leaf rush, - for instance. - Like, - say, - if I wanted to go to this leaf brush that I have here as a texture, - and I wanted to add some color dynamics on top of that, - you know it'll give a bit of variation it will never use. - It's it's hard to get it to use the pure color that you're trying to get, - like as you can see, - I'm color picking here, - and it's still not using that color to its full extent. - But it adds a bit of variation, - which is not a bad thing. - Um, - otherwise, - you could just keep this here, - bringing up any time we need to make it any edits. - What edges Airbrushing. - I don't really use these too much because they're not. - They're not particularly useful. - You can do a lot with this in order to paint with, - so I don't find it particularly useful. - No, - if I wanted to make a brush, - say, - I have some blues here and I go to the elliptic tool and I am one a new layer I feel that - in, - and I make a bit of a variation with these circles by duplicating these layers. - And then I murdered these together. - What happens when I so like this and say Go to edit defined brush preset. - As you can see, - it's already giving me a preview here, - and I'll name the I named this one circles and what did that do where to go? - Well, - if we go back to brush, - even right clicking, - you can see that it brings up the brush menu down here. - My brush has appeared. - Now, - that's kind of a useless brush, - isn't it? - Well, - that's the beauty of this. - We can go here, - mess around with the spacing of it. - Maybe you like that. - Maybe even like changing shape. - Make it a bit more angled shape dynamics. - If you wanted to change the minimum diameter, - we can even do this. - Texturizing it. - We can even do will brush it. - I mean, - you can You can go crazy with this if you really wanted. - Um, - sure, - Why not? - Let's go with that scattering. - No, - that seems interesting. - Let's see what happens with that That's gonna see it gives a bit of a different texture, - different flavor kind of brush. - And if I want to say this, - I just go to the menu. - I couldn't say new brush. - Preset circles alter Glenna. - And now I have this version. - As you can see as I toggle between these two, - it will show you that you now have these two different types and I have kept this brush for - myself, - and now I can go back and use it anytime I wanted. - I want you guys to keep in mind, - though, - that I used the blue here. - But if I were, - this brush is only work in black and white. - So if you were to make this black, - you wouldn't be getting the opacity that you see here and this preview down here. - You would be getting a pure black, - have a brush like these, - any of these that even see if you were to use white. - It would not appear if you were used a mid grey. - It would appear similarly as this did, - because this version of this color that I have is a fairly light version, - and you can see that there's not much, - not much value to this. - So that's why it appears the way it does in this thumbnail and why it's not as pitch black - is the rest of these. - So as you're making your brushes, - remember that color does absolutely nothing to it. - It's always just in the gray variants and black, - white and gray, - and that's it. - Hopefully, - you guys air now introduced a bit to the brushes system. - There's a lot more to go on here, - but we'll just keep it in this for now and will. - So you guys and the next video when we talk about introducing how to set up your still life - . 5. How to Set Up your Still Life: - Hello, - everyone. - Welcome back to part two are Listen to introduction to how to set up your still life. - Now that we've learned a bit about how to work photo shop Well, - let's get into the project and see what we can do to figure out what we're going to do for - the still life portion. - Um, - I have over here a couple of examples of my own shots taken for personal projects. - Although I haven't worked on on any of these that in depth anyway, - these air just some samples that I have for you to understand some ideas in some concepts - behind the composition, - color selection, - textures and all that kind of stuff. - So let's start off with this one for this one. - It's, - ah, - smaller set up. - You too can set up something a small. - Is this if you if you like, - it doesn't matter how big or how small it doesn't. - It doesn't matter to me. - Whatever you guys feel comfortable with working with, - um, - this one is a smaller example. - I've used a couple of different textures here to compliments and the colors. - For instance, - I've used some of these warmer colors, - like in this rusted chain here and in this seashell. - I've used a bit more of an orange red to complement some of the green here. - Um, - and the green kind of flows through the middle. - And then you have some accents off on the sides in this, - um, - darkened, - this more rich color. - Complementing this is well, - is ah with this type of cloth and you have a refer more metal texture. - You have the a bit of a shiner texture with these grapes, - although it's not extraneous, - say the crystalline bull that this this composition is sitting in. - And then we have something a bit more fragile with these broken eggshells. - Just add a bit of variety and harder edges to keep the variation going throughout this and - , - of course, - the seashell, - which is a nice focus point. - It's, - um it's someone in the middle of somewhat off to the side, - but it creates a good flow throughout. - Here it is. - You could see there's a bit of a circular dynamic going on here. - I didn't want to add anything that would severe your eye off to the side, - going up into the corner, - anything like that. - So this is ah decent circular composition going on here s so if you want, - you can emulate something similar to this. - Um, - for this one, - this is the one that I'm more than likely going to be using for this example, - just because I happen to, - like the more rustic look to it. - So when we get into painting, - you're more than likely see me working with this one. - This is more of Ah, - just a settler set up by making sure that I have a bit of a triangle composition going on - here again. - You can see I'm proud of the rest of chain. - Um, - there's a bit of, - ah, - grayish blue creeping in here from the rock and from this from this feather. - Um, - so we have some of the warmer and the cooler coming in. - Although this is more probably gray than it is blue. - The fact that we have these warmer colors in here in these reds gives off a blue kind of - hue to it. - So even if I wanted to, - when I go into painting this, - I could make it a bit more saturated and bit more obviously blue if I wanted to and stuff. - Do you guys. - Whether or not you would prefer to do something like that again, - I have a variation of texture. - So I have the feather, - which isn't obviously a different type texture than, - say, - the leather bound journal here and the the chain, - the rusted chain again for the metal. - We even have some rock, - wood and bone for this horn that's coming in. - So not a lot of variation will add interest into your A and your beasts, - so make sure that you vary it up a little bit. - And don't just put, - you know, - a whole pile of, - ah, - dirty laundry or anything like that. - You don't want just a bolt like a bowl of fruit is okay as long as the bull is, - ah, - vastly different type of texture and is either a lot shiny or maybe even a lot duller than - some of the fruits that you may have in the bowl. - So even though it may not look appetizing and may be interesting to set up a bowl where you - have me if you have a rusted bowl of some sort, - although it may be hard to find that even an antique store or something like that, - um Then you put a bunch of fresh looking fruit inside of it, - then being interesting enough composition and design choice to carry it into being an - interesting still like peace. - This is a bit more complex. - When I went ahead and tried different, - different variations for the I have, - ah, - little Halloween decoration of a chrome skull. - So that offers a lot of reflection and a lot of interest going on here in the in the - centerpiece, - Um, - it's a bit again, - more of a triangular composition. - As you can see, - it kind of flows one way, - and in the other, - uh, - we have the higher point up here, - which obviously is complimenting some of the reds and the, - you know, - the warmer colors that are coming in from here. - So I'm not gonna throw when you know a blue cloth underneath it, - because it would just ruin the the idea going on here. - So the interest here is that you're getting a lot of reflective parts, - like you can see some of the orange bringing in here some of tomatoes air coming in here - even leaves up here in the top of the chrome skull, - which was the idea that I wanted to go for with this one. - So there is something to consider as well reflective surfaces, - even though they may be a bit more complex to do, - There's still interesting. - And they offer a really good centerpiece in case you have anything laying around that you - might want to use for that. - And for this, - this is a bit more of, - ah, - settled composition. - It's that is more of a diagonal composition. - Uh, - Rambis, - I guess you if you really wanted to look at it that way, - Um, - the circular piece, - obviously, - is the focal point here. - So whatever is here, - including this, - um, - is kind of the focus of this. - And we have again different types. - Two textures, - which is, - you know, - the glass for the black light bulb over here. - Ah, - bit of a stone work here. - Toe leather, - the different types of plastic metal, - different, - again, - different textures. - We also have just a basic composition. - Again, - we have the warmer colors and a bit of green poking in here to complement the colors there - as well. - Um, - and that's really why this This is OK as a competition only because this is so pronounced. - This isn't my favorite composition, - but it still works. - It's not. - It's not too terrible. - And when looking in the background, - I'm not gonna be too worried about the these details over here. - When I goto work on it, - I'll probably just either blur this out or continue this so that it looks just complete and - not worry too much about it being in my reference, - because as an artist, - I can always make artistic decisions. - And I could decide, - You know, - I don't really want this in here. - Um, - and that's about it for now. - If you guys getting the ideas for this and go ahead and you know, - if you are inspired by it, - you want to use your eggshells and grapes, - go on, - go for it and use whatever you want to use whatever is laying around the house and whatever - you think would work or interests you like. - If fruit doesn't interest you and go something more like this, - something more rustic. - Sometimes you just want to, - you know, - pay to flower. - That's that's fine, - too. - I mean, - I'm not gonna be picky about what you guys choose to use, - so just find out what it is that you want to paint and go go forth and set up your your - still life and go ahead and either take a picture or make a sketch or something so that the - rest of us can see it and we'll go ahead and see how. - How goes. - Let's actually let's talk a little bit about lighting, - because I know that some of you guys probably have no idea how to set up the lighting in - your compositions. - So most that time just go with a one directional type of light. - Don't bother with complex lighting room lighting. - All that kind of crazy stuff relating will come when you are having a surface enough that - it would be reflecting off of it. - You'll have a reflective light that comes in once in a while, - so let's not concern ourselves too much about having multiple sets of lights. - Just focus on, - for instance, - like this one. - Just focus on having one light source coming in either diagonal or, - you know, - I I wouldn't recommend using, - like flash on your camera or anything like that because it will just blow out the entire - thing. - So let's just focus on having one light source coming in, - possibly at, - like, - you know, - 35 40 degree angle. - Uh, - that way, - More. - More importantly, - what you need to be looking for are interesting shapes, - like how these shadows air creating interesting shapes in this composition. - Here, - you want to be looking for something similar like that. - You don't want to have something boring to look at something incredibly flat. - Anyone but something with a lot of dement dimension happening. - So these interesting shapes will cause a lot of interest in intrigue. - I guess if you wanted to say in your composition, - So go ahead and look for something similar to that in the next video we're going to talk - about, - you know how to set up your thumbnails and how to sketch these out and get some ideas again - . - I'll be working with this one. - So we'll see you again in the next video and hopefully will finally get into painting and - photo shopped till in 6. Making Thumbnails: - Hello, - everyone. - Welcome back to our introduction to photo shop for digital illustration. - Again. - I am Damian Memoli. - I am your instructor, - and we're gonna be going over some of the basics for doing your thumbnails for this project - . - First, - we're gonna start off with the very basic sketch, - and you can see I've separated my drawing board here. - He could do the same by going up to here for the arrange documents window and arranging - however you want, - That'll do it automatically. - Um, - you can do this manually if you want, - but it's much easier just to do with this way. - And then you can see both of these. - I went ahead and copy just the same size as my photo. - So I know exactly what the ratio is and with size and proportions are and I will get - confused and will help me figure him plot out things later on. - So, - without much to do, - I'm gonna grab myself, - I guess. - A black brush. - Regular size brush. - I mean, - as you can see in my window over here in the brushes window, - my brushes fairly said similar to the default. - It has only, - I think, - transfer on radio opacity. - Geter said to pen pressure, - obviously, - and to minimum. - And I haven't even started up. - So what we're gonna do? - How I usually start my sketches for this, - I use control you, - which brings up the human saturation, - or in this case, - for Mac command. - You, - um and I usually bring down the lightness of my canvas just a little bit so that I can get - a median range between these two in the medium range is probably there for this picture. - So we'll go there, - started a new layer, - and then let's get to drawing. - - Okay - . - As you can see, - this is a very basic sketch. - I haven't really gone in and put in any of the values or anything of the sort. - I'm just looking for points of interest, - like the, - uh the shade, - the shadow edges of the shapes for the major shapes. - Making sure everything fits sent is looking the way it's supposed to proportion wise and - all that kind of stuff. - So this is the first step to your thumbnails again, - I don't think I expect you to spend more than 20 minutes on it at most. - You just need to plot the points get some basic line working, - and if you're happy enough with this sketch, - you can easily just use it to go towards your final as well. - If you save the image large enough, - then you can use it to help help you, - Ah, - during your final stage of this project, - and you can go ahead and start, - you know, - slapping color onto it, - and we'll get into that in the next few lessons. - But for now, - we'll focus on this, - and you can always just save it out as a smaller image so that the rest of us can check it - out. - All right, - The second portion of this assignment for the thumbnails is to do a simple black and white - value study. - Um, - it's good practice to, - Ah, - try and do it based off of what? - Your color references. - Because if you were to do this from life, - you wouldn't be able to have, - you know, - black and white filter on top of it. - So it's good practice. - But if you really find yourself struggling again, - you can go to command or control you Ah, - and bring up the human saturation dialogue and take the saturation down to minus 100 then - this way you have a black and white representation of what your picture is going to be like - . - And you can see the values and even looking at it like this. - You can see how much darker this red is compared to how it actually looks on, - you know, - on the screen. - Um, - there's some good value ranges here. - Depicted. - Um, - So for this, - this exercise in particular, - if you would like to approach it this way, - um, - I would recommend duplicating the layer so that you don't screw up your actual picture. - Go ahead, - take it down. - And then we'll do a very basic basic sketch for the black and white so that we know - typically what the value range is there going to be and make sure that we're familiar with - them. - And we know what to look for for the final again. - You don't need to spend too long on this, - um, - and we'll go ahead and get get it done, - and you'll be able to see what range of ah detail I expect from this. - I don't really expect too much again. - You can use, - um, - any brush that you would please. - I may be using the softer brush here without the harder edges, - only because it will help me get a much smoother, - um, - ingredient and a softer edge. - So if you are willing, - you're looking for something like that, - by all means, - and we'll go ahead and get started. - - Okay - ? - As you can see and kept very loose, - very basic infected. - Some of this doesn't even line up like the horn and the journal. - These air a bit off here. - The journal is a bit taller, - skinnier than what I've planted it in. - But as you can see, - I just wanted to get a basic idea of what the value scheme was, - and I'm familiar ties myself with it before I jumped into the final. - Um, - if I talk back and forth between these two, - you can see up in the Navigator up in the top right over there. - The differences. - Obviously there is a bit of difference with proportions and all of that, - but you can get a good idea of the values and see whether or not you're you're kind of - close or really off for how you're doing on that. - As you can see, - I think this area down here needs to be a bit brighter and, - you know, - stuff like that. - But for the most part, - it's good enough for the purposes of practice and knowing, - familiarizing yourself with it and for this next mixed thumbnail weekend, - go ahead and do something similar to this. - But go back to our first initial, - uh, - picture and put in the color instead this time and familiarize yourself with the color - scheme and as well as a composition. - And by the time we get to the final will be so familiar with, - it will probably be sick of it. - But for now, - let's go ahead and get into doing that. - - Okay - , - here we have our basic from new our basic color thumbnail again, - my eyes, - you can see it's very un rendered. - It's just to drop in some colors and get some idea of what the color scheme is. - Um, - now I'm going through this. - I've noticed that there's a lot of more of a red orange when on technically orange not - technically red, - it's in between. - Um, - I have also noticed that there are a lot of yellows, - especially in the horn, - and someone in the piece of wood in the background. - Um, - and also there are a lot of blues, - and there's a good white or Ambien blue light sort of lighting this whole scheme eso we get - a bit of blue going in here a bit of blue in in the foreground here in this piece of stone - and obviously in the, - uh, - the feather over here. - And we can use that for some of the shadows and some of the more whiter areas because they - are the cooled off in comparison to if it was any yellow light. - So that's it. - These are just some basic ideas for your thumbnails. - Whenever you get a chance, - go ahead and get get them done so that you can get familiar with your project before you - jump into the actual final project, - because it will help you familiarize yourself with it for approaching it. - And so we'll see you guys again in the next lesson. 7. Painting and Blending: - Welcome back. - We're going to go over some blending techniques for this lesson. - Uh, - if you want, - you can go ahead and follow along. - Um, - although I'm going to just be showing you an example of how I blend in photo shopping for - this will be using a black and white version of my still life so that you guys can just see - how work in black and white And when you're working in black and white b share to just - focus mostly on the values and do not be too concerned about what it is you're gonna be - doing with the color and beyond the saturation and all that kind of stuff. - Um, - even so, - don't worry too much about, - you know, - the the rest of this. - What I'm going to be doing is focusing, - I think most famous father, - just to give you guys a sample of you know, - how I blend in photo shop and what it is that I can do to get, - like, - you know, - all these nice, - Grady, - it's going on in this feather. - I figured this was a nice indicator for, - you know, - a nice value range. - So for that, - we can Ah get into some examples of you know how I would approach this. - First of all, - I'd probably approach this as a, - you know, - sketch a very basic sketch, - get the shaping more than anything because I don't want to concern myself too much with - complete accuracy at this point. - That's a basic idea of our of our feather. - Um, - So if I wanted to approach this, - how would I do that? - How dark you figure this is? - Well, - I'm guessing it's about here. - And some techniques. - You can use our some very soft brushes, - as you can see it, - even in the thumbnail, - for this one is a very, - very soft brush. - Uh, - there is some spacing in it, - but I'll lower that just in case. - Um, - well, - you can do with this is get a very gradual and soft kind of radiant in here, - and I'm not worried. - Notice? - I'm not worried about the edges right now. - It's not a big deal for me because I'm going to be worrying more about getting the - ingredient to look how you think it should. - So, - for this, - let's get some of the late again from the bottom getting even darker. - Grey because it I'm losing my my edge. - But that's perfectly fine. - I don't really care right now because I can always go back with an eraser. - Or alternatively, - if I had already determined to shape, - I can go back and mask everything off. - In this case, - I haven't done that. - So I'll just a race. - You can see there is a very crude representation of, - uh, - of our feather here, - and I want to get a bit more texture in there. - So I'll take my softer brush or that down to about 5% and start, - you know, - color picking and just generally going back through here to render this out a little bit - more. - If you want, - you can go up to the flow of opacity on. - Try some settings out to sea would suits you. - Um, - 70 and 30 tends to be a decent, - varying range. - You can always play with it and see what you would prefer. - Sometimes you get a bit frustrated trying to blend these in because for shop is not exactly - too good at it. - So I have a custom brush here that is a bit softer and adds a bit of ah, - smudge effect to it. - So, - like I said, - when you are going in and figuring out your brushes and trying to create some for this - project focused on some stuff that you would think would help you with your project and - with you in general just trying to get familiar with photo shop um, - I could recommend brushes that have a bit of ah texture to them so that you can get that - nice smoothing effect. - Of course, - one of the bigger things about blending is focusing and making sure that you're getting - your edges correctly, - and that is a big part of drawing painting in any medium. - As you can see that, - there's a hard edge here, - and I'm trying to make sure that I get that edge and his close to my representation is - possible. - I'm using a very, - very subtle, - very light strokes because I don't need to go too hard. - If I go too hard, - you can see what happens. - I don't need that. - I just need small and precise. - I mean, - you notice this whole time I've got my feather selected because I didn't think I would need - to bother too much with the mask I mean, - I can go ahead and mask this if I really wanted to. - But as you can see you, - what happened there is that because there are some Grady ints if I were to a racist, - you can see it's a see through right now. - So if I were to actually mask this, - um, - it's trying to use a solid black and white so that it sometimes, - you know, - omitting some data. - Because of that, - we're seeing a bit of texture in here in the variation between some of the greys, - some just kind of random izing. - My brush strokes in here to get that texture, - but wanted to I could actually get a texture brush. - But for this purpose, - I want to keep it a bit painterly. - So I'm just going to randomized my brush strokes a little and get a bit of a texture in - there. - But for exercise, - I don't really expect this precision of detail or anything. - Just an exercise to make sure that you practice with your with photo shopped so that you - can familiarize yourself with it and get to know how you approach blending in the program. - My advice would be try and keep it as soft. - And don't if you find yourself, - you know, - grinding on the tablet. - There's probably an issue there, - so it should be a nice in the gentle approach. - If I want, - I can go back and get my harder brush. - If I find that there's in these harder edges that I want to go back into, - you can see how soft and subtle I'm being with us. - That's part of the part of the dance that you're gonna have to learn to do with - Photoshopped. - You know, - it's a very basic, - basic idea of how you took an approach blending within the program. - I'm just cleaning up so much is here for my own sake. - Um, - go ahead and do your A black and white. - Remember that you don't need to make it finalized. - Do you just need to spend a bit more time on it than you would have with the thumbnail to - familiarize yourself with blending and get a bit more detail in there? - Go ahead and go forth and, - uh, - practice with your with your photo shopping and see what is you can do. - Ah, - I look forward to seeing you guys assignments taker 8. Painting in Color: - Hello, - everyone. - Welcome back to our final video for this course. - Um, - I'm going to go over just my basic usage of Photoshopped forward this still life, - which I will be going over how I approached my still life for this For the most part in - this I have only used a I think three or four brushes. - I've used one of my round brushes. - Um, - this brush to as, - ah, - general brush to smudge and blend colors and shadows a bit more My very soft round brush to - get in the large masses to make sure that everything is nice and smooth. - Um, - and a couple of textures I believe I used, - um this brush, - which is, - is just a kind of a textural brush. - So what happens when I use this brush is you get a kind of, - ah, - nice little texture going on, - which I used for part of the journal and part of the background, - I believe, - um, - other than that, - I think I believe I think used this one, - which is again just another texture brush, - which you can see is mostly for I think the rocks and what not just add a bit of texture to - them because otherwise it would be quite flat and probably look very boring. - So So let's see. - I've start off adding my base, - my base color, - which was for my image. - Um, - and I went ahead and got my sketch. - They didn't from my thumbnail when I added it in here. - I didn't really toyed with it too much. - It's just ah, - basic understanding of what the composition is meant to be on and where the major areas are - . - After that, - I went ahead and added in my base, - and and it looks complex but really isn't too complex. - I was adding in mostly shadows. - As you can see, - I was going in, - kind of like if you were to imagine it as a basic three D render if you've ever done that - before, - I went in and added mostly the shadows just to plot them out and see where my very darks - and where my majority of my shapes were going to be like the roundness of this horn and - these were would be very flat. - I knew that my major shapes and background I got in because it's a very simplistic - background and it doesn't take much now, - also plotting out the's change just to get the complexity in and, - you know, - same with this. - From then on, - I was just beginning to add my colors and some of the textures. - As you can see, - this is a journal texture that I kind of put on with that brush that I just showed you. - You can see I did go ahead and mask these out so that when I went ahead and mess with it - further with the texture, - I wasn't going to impede on any of the rest of these. - Um, - feather. - I also did a mask on. - Although even when I went in to go ahead and paint it, - I didn't really bother with him. - Ask too much. - And after that you go the render as you can see whole lot Orender. - But I started off with the horn. - I wouldn't hadn't just went in. - And as you can see, - I missed with bit with the background during this part of the later um, - major, - it was matching up. - Same with shadow. - This is before I had in my base. - When I put in the color for this rock, - If I go and remove it. - You can see that when I went hadn't slept in my base. - It's a very basic understanding of what these shapes are. - So I put in my my grade blues and my oranges, - my pale orange is that, - I mean, - I was going to need This is a bit more of a greenish yellowish kind of color. - Um And then I went in and I started detail ing it out, - and you can see all it needs Is these three these three layers here, - one adding in my basic render, - adding in the basic wonder for the second and then just putting on my texture, - as you can see, - goes from 1 to 2. - This I was just putting in my basics for the chain. - You can see I was working, - trying to work the shadow in and some of the colors to make sure that I was getting the - render right. - Um, - and then I went in and finished it by adding in my textures, - Um, - this one was mostly just one of those texture bridges I showed you and painting in the rest - of these colors, - just making sure that the shape, - the shadows and the highlights worked because if those don't work, - then this entire thing would have been very messed up looking. - And you want me even Probably have been able to tell what it is. - Um, - my one hadn't started off my brand chair, - as you can see, - um, - only two layers on this. - For some reason, - I decided to put another layer on the surface. - Decide, - as can see, - it's not a very complicated on. - As you could probably tell, - um, - these are just strokes to follow whatever direction that my reference was telling me to go - . - And same for this, - just a matter of plotting in a bunch of mush my shadows of my highlights and I soft and - then going back in with my my heart a brush and trying to get in those little minor details - to complete that illusion of texture In there. - Here I was beginning to approach my journal, - trying to get in the right colors and the right textures for this because one of the bigger - parts of the journal was the texture. - And here I put in my little satchel are the little the little handle here, - the little latch and, - um, - down here I started to put in my base, - as you can see. - And then here I went ahead and put in my my leather. - I went ahead and finish the journal off with this, - um, - it just took a bit longer than you and the rest of this did. - They didn't want to get too many scratches in here because my reference didn't look that - Warren. - And so I didn't want to over do it or anything like that. - And the final piece was the feather and went ahead and put that in at his. - Yeah, - I put a bit of texture here, - but the rest of this is just a quick lines to get that illusion cross. - And then a bit of a softer brush down here to try and get that fluffy look, - too. - My feather. - And as you can see, - I didn't really have to mess too much with ingredient as long as I had my round, - flat brush and I was going in and plotting in all my shadows and highlights and then going - back in further and detail ing that out. - Um and then one of the final layers was me doing a bit of correction on lightness and the - contrast because, - as you can see, - it's just a color Dodger. - Later, - I went ahead and and went in and just brightened up some of the spots because it was - looking a bit dull in comparison to the rest of my my reference. - So I just went ahead and did that. - And, - as you can see, - even a bit of the sketches still showing through. - Which is why, - for my final image, - I always just turn that off because it's no longer going to be relevant. - If you've, - if you paint, - it is enough this get shouldn't, - uh, - be of any use to you at the very end. - So so for the rest of you guys, - um, - go ahead and, - you know, - mess around with the brush is a little bit you. - Probably We're gonna need to find some texture brushes. - There are outlets out there that will give you free brushes, - and you don't have to pay for them if you find a place that you need to pay for them. - I wouldn't recommend it just because you can make these on your own. - If you just spend the time and dedication to make them a lot of these I have found on the - Net. - A lot of artists will give you their their brushes, - and now they have no qualms about that. - But again, - these these are the only ones that I really use. - I didn't go overboard with my selection of brushes and even know I'm not pushing down - really hard. - If I were to push, - not really hard, - it was just be very dark, - but versus doing a bit of a lighter one. - But that's about it. - I mean, - I four, - maybe five, - brushes, - tops, - and that that's probably at the rest of the time. - I just was using my what I call my blender my blender brush, - because it's a bit softer and I like to blend it. - It's softer, - but them you can do you even still do this with the regular Photoshopped brushes. - It's not completely impossible. - I just like to get the bin, - that texture in there, - and you can still do this with photo shop. - It's not completely impossible. - As you can see, - it's just a normal round brush. - I can still get in that nice Grady int there so free the rest of you guys go ahead and get - your project started and go ahead and see if you can upload some of your works in progress - . - If not, - just go ahead and work on it and work on it as long as you need to on. - Then we'll go over and see if there's any critiques or anything that I could do it. - Help you guys throughout your process again. - You don't need to do anything this complex if you are feeling very intimidated or timid - about it. - But, - um, - just do whatever it is you can and will go ahead and see whatever your project is, - and we'll go ahead and work through it and that's it. - I guess we'll see you guys in class daycare.