Transcripts
1. Introduction: Welcome everybody. I'm Dr. Brown, but I go by
bones and bearing online. I'm here to help
teach you how to create art that appeals to your audience's feelings so that they'll stick around
a little bit longer. It's this next level step
of attachment that will not only stop them or force
them to pay attention, but keep them coming
back for second, third, fourth visits to relive that magic that they
noticed the first time. My goal for you is to infuse your characters and
composition with emotion, storytelling and other bold
characteristic choices that will help give you
a blank canvas life. I graduated from Cal State
University Northridge. And ever since then I've done countless freelance
illustration jobs. Then includes books,
comic books, album, cover art, band merge
in, the list goes on. Anyways, if you're interested in breathing life
into your pieces, then this is the
perfect class for you. Come along, you
experienced the pillars of character and concept
illustrations. Because if art is
world-building, so if you create a character in their natural environment, then the audience
will immediately get a sense of the story behind it. After all, a character
and settings as emotional undertones to art. In this class, you'll
learn how to achieve lively poses and expressions
through line art, the motions of various
color schemes, clever composition mechanisms. How to define your
character and background. Then finally, add in those
final details and effect. You'll use this
sculpted the skills here to create a
beautiful concept piece. And then you can apply those
techniques elsewhere, e.g. in understanding
your favorite media, and then you can apply
those in future work. Also, you can apply
them in developing your own style and use
them in future pieces. This class is great for
intermediate illustrators. But if you feel
like your mom that begin or end of the spectrum, then you can go
ahead and download the starter files
and follow along. But if you feel like you're on the more advanced end
of that spectrum, then go ahead and start
your piece from scratch, but still follow
along with the class. If you want to start wowing
your audience is simple. All you have to do
is to into my class. There'll be making splash
and practically no to us. If artists designed to
make you feel and why not push the limits through
your own creative decisions? Matter of fact, I got a
few secrets that I could show you that will
definitely help you out in any department. Come along.
2. Class Orientation: Welcome to orientation. Everybody, find your
seats, everyone. This is video number
two, class orientation. In this class, we're going to create a project that
is going to help you realize your ability to become
a storyteller through art. Now, we're going to use
character and theme. Character personifies
the blank canvas while the sets the mood. Baby. Remember, anyways, you spent a lot of time
in your art, right? So if you can create a
narrative around your piece, you'll help your audience
spend more time on it. Now that's what I
call a job well done. Now that we got that understood, Let's talk about the
supplies will be needed. Number one, a writing
utensil to open canvas. Three, a note-taking app for a location to save those
images will be collected. Now, I'll be demonstrating
with an iPad and Procreate. But if you don't have Procreate, you can just use the
same techniques on any app like Photoshop, Clip Studio Paint, et cetera. On either a non-displaced
wakeup tablet, display tablet, or just
traditional medium, if that's all you
have access to. Now the beginning stage of your project can be a little bit daunting because the
canvas is empty. The possibilities are endless. But on the flip
side of that coin, you have all this
opportunity to explore different options
that you may have not explored in the past. So that being said, go ahead and find the
enjoyment in every step of the process and don't make it a labor thing where everything is, you know, this, this test
as draining you, enjoy it. Have fun, and I'll
see you next video.
3. Brainstorming and Developing Your Concept: Welcome back to the
classroom, everybody. This is video number three, brainstorming and
developing your concept. Yes, we're going to take
all those beautiful ideas. And then the first step I'm
going to ask you to invert your eyeballs and
look into your mind. Yes, we're gonna go
ahead and create some little sapling fetus ideas. So first things first, I'm going to actually
use an app for this. You can use a document, you can type it out and you can write it on pen and paper. Or you could just
go ahead and use stone and chisel
like the caveman, Hey, we don't discriminate
in the classroom. So let's get into it. We're just going to type out
some ideas that surround our concept and things
that we want to include. So I'm going to have
mine be in the future. So it's gonna be future related, let's say like
post-apocalyptic vibe to it. We're going to have
like rust colours involved is gonna be a lot of mechanical aspects going on. We're going to have sky,
I'm not sure where, but something they
incorporate in there. We're going to have
a flying device. I'm not sure how
that's going to work. We're gonna do earth tones. Earth tones. Let's see ragtag, we're going to say that that might change. I might make it a little
bit more put together, but for now, it's going
to sit like that. It's going to be sunset. Sunset, Let's see, brown, maybe it's gonna be dirt
or sand, say, and clouds. Okay, so that
concludes this step. You can go ahead and write down as many ideas as you want. This is where I feel like I'm, I'm said here, so we're
going to leave it there. And this next step is
going to be a harder one. So I need you to
listen closely, okay? So you're gonna have to resist those hilarious and funny
memes. That's right, folks. We're going over to social
media to gather reference. But trust me, it'll be worth it. So here you just look at your
favorite art and you know, you can actually search for a particular artists
or you can just scroll through and just
come through it by chance. But I went ahead and opened
up my Instagram, whatever. So I actually went
took the truck or I actually
skipped a step and I actually created a folder
just for you guys. Okay, now here are
the references that I gathered
through Instagram. So now you just take
screenshots and or save them. So we're just going
to take screenshots. Okay folks, so that's all I have for my
Instagram references. Here's a few quick run
through of alternate methods. You can actually go
to Pinterest just as well and just find some
ideas that interest you. And you could just go
ahead and screenshot them directly or save them
however you wanna do it. As long as it pertains to
your idea, whether it, I suppose, color, et cetera. So just take a few screenshots. And also you can do Pinterest or you could just
do it the old-fashioned way. Just go straight
to Google, okay, and just search up whatever. So let's see. The first thing that comes
to mind is metal slug. So this, at this point
is ancient history. I know we said actually
have to go to arcades and putting coins to play
ancient video games. So Partner history, so just take some more
screenshots again, doesn't have to be
the highest quality. Boom. I always liked the colors. Everything is like earthy and the mechanical things are really round and always
found it interesting. Okay, With that being said, now we're just gonna go
straight to our gallery. Or if you have a separate
folder where you typed a mat or however
you wanna do it. Just have all your files or your images in
a central folder. So we're just going to
go to our images, okay? And we're just going to go and gather them all
in the same folder. So I'm just going
to select them. But this step is important because these
ideas can leave in mind. So just make sure
you save them and have a visual representation. Don't be afraid of
the references. Isaac Newton said, if I've seen furthest because I've stood on the shoulders of giants now, that's the man that
created physics. We're only doing art people, so save as much as you can and use other
people to your benefit. Okay folks, now, that's
the end of this step. I hope you found all the beautiful images that
you're going to use. Don't. I said 15, but again, it's free. Inflation has touched
everything set of references. So just get as many as you
can while they're still free. Enjoy that free gift. We are going to begin to prime our minds for the
next sketching phase. So just think of how you
want to approach it. You know, prepare your
desk, knock away, or go ahead and trash
the KitKat wrapper is the chick filet
drinks that you have lying around and make sure
your desk is nice and clean. Okay, people see
you on video four.
4. Let's Establish the Sketch - Character Design: Welcome back to the
classroom everybody. This is video number four, aka let's establish the
sketch character design. So now we begin the sketching
phase of our project. Here's where you'll make all those loose
decisions that will affect the overall shape and the silhouette
of the character. First things first,
we're gonna go ahead and open up a canvas. Make sure you have your Canvas. That is landscape. I'll explain in just a minute enough to fit three
characters side-by-side. I'm gonna go with 12
80 by 720 because I feel like that's that's
a good starting point. And second thing you
want to make sure you have those references handy. You don't have
them on your iPad. You can either drag it from the bottom and hold your
finger on the photos and put them to the side and make sure you access that folder with the with the Skillshare
or with the references that I created or that we
created together, I should say. And you can have them
side-by-side like that. But for the purpose
of this video, I'm actually going to have
them on a separate monitor. So and and after you have
those references all set up, you're going to make
sure you go into this. Keeping in mind that
these are gonna be loose, loose designs and very varied in shape and
costume designs. We're not getting
in there and oh, he has a different
he has a he has a different lines on
his shirt on this one. Maybe he has three marbles in his pocket and then he has
two marbles in this bag. Now we're going big. We're not adding freckles. So keep the, keep the main aspects of
the costume in mind. Poses. Six total two different
layers of three each. And each pose is going to
have a different posture. A couple of notes about
the poses and postured. Well, the poses is just gonna
be three-quarters neutral. As you can see here. It just neutral. But the body type and posture
is going to determine what characteristic
your character or what personality
or character has. So this first character, more meek, it's probably
going to have like, you know, she's like just slender,
just consistent, pretty much body from, uh, from top to bottom. And the second one, a little bit more triangular
in the shoulders, is going to be maybe a
more powerful character. I said neutral, but I gave her like a little more
powerful stance. Just bigger, bigger
features total. And for the third character, the third posture or body type, I just gave something that's
like somewhere in-between, like some type of middle ground. And the first. And now we're getting into the actual character
or the costume design. Now, keep the costumes
varied as possible. Again. A couple of
notes about costume. If you have like more rounded
features on the costume, then that might suggest a
character is more playful. And you know, you might
have more sharper edges on a character dislike evil or more nefarious or
something like that. And then you don't have
to adhere to these 100%. But it's just like a trigger, like when we see certain things, our mind automatically
goes now with me, I'm going somewhere in-between since it's going to have
a lot of mechanical, which a lot of
mechanical stuff is like straight age, stuff like that. And armor is like
straight age two. So somewhere
in-between, I think is fine for my particular project. I didn't want to have
I don't want it to have some skin may be exposed, but I didn't want to have
a lot of sharp edges. That's one thing I didn't
want to have because I didn't want my character to seem like some type of villain or
something like that. The reason why we have
them side-by-side is so that we make
sure we can do different character
design changes each time so that we don't
cross those same bridges. And we can make sure
that we're not doing the same design with the immediate visual
reference right next to it. Okay folks, so as you can see, I have two layers. Each one have different
character designs. We'll go ahead and
narrow those down, but we have a good roadmap of
where to go based on here, as you can see, none of them
are mimicking each other, but I'm gonna go
through, see what See which of the designs
more fit and my vision. And then we're gonna
go from there. Keep in mind this
is the lab phase. So again, variety of designs
and just experimenting. And next will be narrowed down our character
with what they, with these experiments and further developing the
one that we choose. Okay, so now that we
have our six characters, I'm just going to go through and point out the elements
that I liked. So the first design is kinda
what I had in my head. The main things
that are going to want to keep here give
me just a second. I'm going to want to
keep this jacket. Don't want to keep the jacket. I'm going to want to keep I also like the way the top was, so we're just going
to take note of that. And I liked this little thing. And thus that still
remain elements I like. So the second one, I like the height
of the boots there. Other than not really the
style I was going for here. I kinda like the
shape of the boots. Okay? And then I kinda
like these, these, these like repeating kind of armor pieces which
I might include. And also the belt is
pretty interesting, so possibly at that.
So we have that. And now let's see what we
have on our other design, on our other set of
designs, I should say. So here I like the thighs. That kinda units our thing. We might see that again, I kinda like the
height of the boots. I do like the overall, although I don't think are not the overall is the
little harness thing. Although I don't
think I'll use that. And this one, I like the hair. I like the shorter style, which I think I might go with. And again, we have those, those kind of repeating
armor pieces on the legs. That being said, let's
go ahead and draw our final character or
yes, or final design. Here I'm just going
through and combining all the previously
mentioned elements that I liked into one
singular design. Okay, As you can see, this is the character
that I chose. We're stuck with a few
of the, To be honest, I ended up choosing a lot
of the elements that I, that I had from
the first design. A few other things
I learned as I sketched the other costume. So do the same and come out
with your final design. And then we're going to use
that for the next step. See you on video five, sketching and
developing the store.
5. Sketching Composition & Developing Story: Okay, welcome back to
the class, everybody. This is video number five, sketch in the background
and developing the story. So this is the point where
we're gonna go ahead and decide on the framework of
our final illustration. So this is what I like to
call the lights camera action phase of the
drawing process. Yes, your character is
going to be striking. It's best model polls. And you're going to
just make sure that pose communicates a feeling. So right now in my head, I have a couple of feelings. I think either want to
have her maybe like looking into the
distance and maybe like dreaming or daydreaming. Or I want it to be like
maybe uninterested slightly, but I wanted to meet her posture be like
slightly slouched, like There's a big
expense spillover. So we're gonna go on that. So let's go ahead and find our layer with our character that we
decided on last video. We're just going to,
if you're using iPad, I swipe down with three fingers and
then you're just gonna go ahead and copy. Now we're going to go ahead
and create a new layer, a new file, sorry. So let's see, I'm going to
just make mine let's see. Let's just do
eight-and-a-half by 11. Okay. Eight-and-a-half by 11. And that is 300 DPI. Okay, so we have our canvas. Now we're going to swipe down three times or with
three fingers again, we're just going to go to Paste. And then we're just going
to keep our character up in the side just so that we can remember what she looks like, what some of our more
important elements were. And we're just gonna go ahead
and create another layer. So you don't really,
and I know I, I, I made mine in this in
this portrait format, but it can be whatever
format you want. You can have it in landscape. If you want to really
showcase that background, you can have it this direction or you can
have it this way. The choice is yours. Sometimes I start this way and
then I ended up, I ended up, I'll end up having a background that
I really want to show off. So I'll change it like this. So it just depends. Now, it's important
when we're sketching, don't get married to any sketch if it's not coming out right, just scratch it started again. Usually you'll create
a better design or a better oppose
a second time. But sometime you gotta, you're
warmed up a little bit, so don't sweat yourself. At this point, you'll
notice a couple of things. One, I'm searching up a few additional references
for my character. And the second thing
you'll notice is me nibbling on that and knowing hanging on the
side of my finger. Anyways, there's no shame in looking for extra references. If you need some, go ahead and search whatever whatever emotion or
pose or something like that. I just searched board
posts and I came up with some useful
information off of it. So don't be afraid to
search for more references. Okay, as I'm sketching this, we're going to talk for a
brief moment about poses. Now the poses determined by
the posture of the character. What is it motivated by, and what environment are they? So a few emotions you might be trying to convey is
board, which I went with. So when you think of bore,
you think of slouch posture uninterrupted and not really focused on anything
in particular. Excited is gonna be
like a big poles. Postures up,
expressions are wide. And when we talk about anger, we're talking about
slumped posture. Typically things are tight to the body like your
limbs might be tight, fist might be clinched, and your face might
be tight as well. We're not doing faces right now because there's too
much of the details. But let's move on to surprise. Now, surprised if
you're surprised, you're probably
knocked off balance. You're facing a surprise most likely because it
happens so quickly. Now, obviously there'll
be a little bit of overlap with some of these. Some of the poses might
be a little bit similar, but it just will depend on
what your character is doing. Don't forget. You can always google
whatever emotion you're trying to depict. And there'll be
millions of images right there for you to
take inspiration from. Okay, now that we got our pose, we're gonna go ahead and
just make a new layer. We're just going to title that. We, We're pretty
sure on our pose. Let's make sure
we delete some of these other layers because
especially Photoshop is limited or not Photoshop Procreate is limiting
the layers you can use. So we're just going to delete some of those layers
that we don't need or that we were using to
try to figure out our pose. Oftentimes the poles can take it can take a
significant amount of time, so don't, don't
expect yourself to nail it on the
first try because, you know, opposes
kinda difficult. So let's go ahead and
lower the opacity down just a little bit. Then we're just going to make a new layer and let's
just title this. We're just going to
put BG in the back. Bg for background, delicious type character
for the character layer. Okay, So background, this, we're just going to try
to figure out, you know, degree at how our character
is going to be stained and the perspective of things. And just like some of the bigger aspects
of it of our design. So I'll usually like doing
like the squares around the feet just to figure out both feet are in
different perspectives. As you can see. You know what, for
the purposes video, let's just go ahead and
put them on the scene. The same grid here that we don't get too complex in perspective. Right now. We're just doing a very simple, very rudimentary background. Just making sure
everything makes sense. Making sure that it's
relatively in perspective. Making sure that the
character's interaction with the background makes sense. And just make sure it
fits composition wise. So we'll revise it
later in later steps. Thus why we're doing this
in the sketch phase, because we can afford to make a few mistakes and inconsistencies
that we can fix later. And there you have it. This is the start of
our sketching phase. This is how it's going to be. I'll go back and
add details on the, some of the background
elements, refine them. But this is the breakdown
of how everything is. I got my character in
the polls on what, and then I got the
background to how I want. So now, just start to
remember the feeling that, that brought you to this point. Like think of, think
of all the ideas, the colors and stuff like that, and come up with the mood and stay consistent
with the poles as well. And see you on the next video, which is VDO six, which is finalized line art. Get your sketch in line.
6. Finalize Line-Art: Welcome back to the
classroom, everybody. This is video number six, aka finalized line art. Get your sketch and line. Yes, this step we're gonna
go ahead and use what we previously established and we're just going to build
on top of that. We're gonna be the
drill sergeants of line art. That's right. We're going to go ahead and just define all those
scratchy areas and, and, and undefined places and make sure it's all
streamline and smooth. We're gonna do that for the environment
and the character. Just a cleanup phase. You can think yourself
as a drill sergeant or cleanup crew wherever
wants, suits your fancy. So first things first, we're gonna go ahead and talk about what I have
here on my screen. If you don't recall last video, I didn't have quite as
many props in the video, so I went ahead and I just took some time
and added some stuff. As you can see, the
prompts are based around the character.
Real quick. Before we lock in
on the line art, we're going to
briefly talk about composition and a
few ways that you can redirect the audience's
eye to the focal point. So firstly, you'll notice
the pose of the character. It goes up through the foot and to the hip and backup
to the face and hands. And secondly, I have
this framing element, these bars, they serve
to frame the character. And I have these jet engine is aimed back at the character. Now you might notice the shape
of the fire is a triangle. Triangles are perfect ways
to direct the eye as you go, you'll find ways to add
subtle triangles in the back. Make sure you'd be settled. Don't be too obvious and
framing the character make it seem natural as the background
elements would appear. And lastly, I have this, this item or the spacecraft's. Now if you look, this
one's in the back. This one is also in the
background foreground. So it goes back and this swirl
shape to redirect the eye. Obviously as we go, we'll add more elements in
the line art as we see fit. And let's get back to the liner. Okay, let's briefly
talk about line art and the variation in
line art to make your drawing look
way more dynamic. To do that, I drew this
beautiful toaster for you guys. Now before you start
to think, Hey, teach was revolve this
toaster business, I thought we were talking
about line naught, rest assured, let's
get right into it. So when we're talking
about the age of an object represented
in purple here, that, that's all the
age of the toaster. That's the second branch
that's coming out. That's this other form that's coming out
here and the dial, all of that is gonna be
the darkest of the line are in that represents
the age of an object. Now, secondly, we have the more subtle
ages, which is the, you know, the creases, the creases that are in the
interior of the object. These dials, everything
that's represented in blue, That's gonna be the
second layer of dark, of thickness in the line art. And lastly, we have everything
represented in red here. So that's all the subtle, the most subtle details. So when we have rounded softer edges, that's
everything here. All of this, that's all going to be the lightest line art. I have some creases here for the burn marks and
the crust as well. That's gonna be the lightest. So that being said, we're gonna go ahead and
reduce the opacity. I have it. I have my character layer and
I have my background layer. And we're going to look at, we're going to open up
our character that we drew in video four. And we're going to use
that as a reference to make sure we get all the
little details that we forget. Now we're going to
add stuff as we go because our schedules and perfect it was it
was relatively, relatively quick compared to what we're gonna be doing now. So just have that up there as a guide and also don't forget
about your references. If you find you didn't
full enough references. Again, just pull up, pull up some references. If there's something
in mind that you maybe have a little tricky, that's a little bit
tricky for you to draw. Go ahead and pull it
up on the internet and just look at it. Look at it as a guide
and reference in the background and add it to
your collection if you may. That being said, we're
gonna get right into it. We're going to use
this line art brush and we're going to go to two. I usually like to use skinnier
skinnier brushes that way. I can color them and it
just makes it a less messy and a little bit more as to
the realism a little bit. And I like, I like that line between no realistic stylized, thus where I live at. Okay. And before I start, I would like to say I just I
never really liked to start with the head for
whatever reason I find. Sometimes I just
make the hair too big or too small if
I start at first. So I'll just I'll jump right
into the baggies item, which I feel like is
the best choice because that item will probably be covering some of the
other elements that you, that you had in your design. So just go ahead and do if
you have any baggy elements, just put that on first. I feel like it will make your
life a little bit easier. You want to make sure you
keep those lines free. Make sure you work
on those areas that that's giving you trouble. Go back. And if it's not going away, erase it and start again. And I'm gonna be, I'm gonna
be advocated doing that. Like don't stick around with
the work and try to build on it and just erase
it and start again. Chances are your mind
has download that information will come out a lot faster the
second time around. So the hair, I kept it
light and light and fluffy. Kept those lines very, very loose and lively. Everything about the
line or in the jacket. You may have noticed I've
changed it up a few times. The first time I
made the wrinkles, little bit too many
wrinkles to close that I will indicate
like a looser garment. I wanted to make sure
it was like a jacket. More rigid, kinda
starts to look. So when I went back in
and redefine those, added some little more
details here and there. Now all I need to do as
a background, I don't, I no longer need to keep
my character in the back because everything
has been defined at this point and we're just going to start adding all that. Really. We're going to go in at the line art for the
props and so on. Now this needs to be said when you're doing
the backgrounds, you want the line
art to be less, less, less thick and decrease
the line weight of it. And you just want to make sure everything
that perspective, so makes sure everything, make sure you can erase
whatever is overlapping. By doing this, you want
to separate the layers, then go back and then erase whatever line
is interfering with, with the element
that's in front of it. At this point is important to note that you make sure
to flip your canvas after each major step just to verify that there's
nothing wrong. And this will help you get
a different perspective and be able to detect any issue
that may have occurred. So all you gotta do
is click settings, go down to Canvas, select Canvas under Actions, and then go to flip horizontal. And then from there,
you'll be able to see if you have any issues, make sure you make some
corrections before moving on. All right, as you can see, I finished my line art. I went through and added those details on those
aircrafts in the back. And then I went ahead and
made a lot more equipment on that deck that she's
standing on to make it look workable like
it could exist. And don't don't forget if there's not a
detail on the sketch. Don't hesitate, just slap it on there and keep ad and
as you go as well, this like if something belongs, go ahead and add a later step
if it needs to be there. And what fascinated me
about this is that it's in the future and it's dealing well as futuristic technology. But she's also a board. So I feel like a lot
of people can relate with that because we might take for granted that technology we deal with on a daily basis. But ultimately, the monotony
of it can get can get tired. And I felt like I was pretty successful in the mood
I wanted to capture, are captured the boredom. And I'm gonna go ahead and
carry that to the next step. So keep in mind whatever
that you establish here. And then we're gonna go ahead
and reinforce that with, with color on the next
video, video seven, communicate and move through
color theory. See you there.
7. Basic Cel Shading / Light Source Direction: Guys, we made it to
the step where we can start colors in there. So in this state,
we're going to apply a overall color to depict
the mood moving forward. So what you're gonna do, you're gonna go down to, you're going to open your piece up and then you're gonna go to the background
color or the bottom mostly or whatever one you have. And we're going to create
a new layer as well. We're going to call that
light source, okay? Light source spelling when out of whack right there for
a second. It's all good. Okay, Now that we have that, we're going to just
briefly talk about about the different moods and the different genres
that you can depict, whatever based on the
colors you decide. So firstly, we have
a pink and blue. So maybe we're talking about
the future and sci-fi. So we're thinking about
blues are a lot of neon pink and neon purples
from LED screens. And maybe we're talking
about fantasy green trees, but I'm forest, maybe golden
symbols from the sunlight. Then when you're talking
about earth tones, the grazed or rust, does. We're talking about
post-apocalyptic. And then when we're talking
about rave with black, when we're talking about horror, horror this scary, we need blood and we need more darkness. And then we're talking
about blue and green. We're talking about a denture. You have blue skies, green, get green grass. What more could you
ask for? You know? And then when we're
talking about suspense and kinda mystery, we're talking about grains. Okay, That can also
coincide with, with horror as well, but we'll just stick
with what we have there. And then we're going to
talk about moods as well. When we're talking
about moods, look, we'll say blue for
the first example. So blue is going to
be more relaxed. Okay, and then what
we're talking about raids were thinking
about agitated, agitated, that's the mood. You're going for, like fire
stuff that's like volatile. And then when we're
talking about green, we're talking about lively. So think trees, all that good
stuff and purple can also, it can overlap with
blue a little bit. Is it can be for more relaxed, but it's a little bit
more mysterious as well. Then if we get to the other step and we're talking about
complimentary colors, these are just tools you can
use to make your piece pop. Okay, so those combinations just naturally attractive
to our sensibilities. So first we have red
and green, okay? And then we have
purple and yellow. And lastly we have
blue and orange. Now when we use those, it's automatically
going to attract the audience whether
they like it or not. Okay? And remember, you
can mix and match with these principles and portray something more complex
than the basics. So let's get back to
what we're doing here. So we have our line art that we created through the
steps that you follow. Then we're just gonna
go to the background. Go to the background. We're going to choose, we're going to choose
an overall colors. So mine is gonna
be a lot of grays. It's sunset, so it's
going to be bluish gray with orange as well. So we have that. And then we're gonna go to our light source one
and we're going to just look for a
color now, don't be, don't be discouraged if you don't find the
color that first, the first try because we're just experimenting as well here. I have a gradient brush. You can, you can
you have gradient tool if you're using Photoshop or wherever you can use that. But I'm gonna go with
the gradient brush. So I'm just going to
see how it's looking. And we're just gonna
kinda paint that in. Okay. So I felt like
we landed somewhere where we want to be with
regards to this drawing. So now we're gonna go ahead and make another layer
and we'll just, we'll just name this, will
name this as silhouette. Just going to put sale. Okay. Because I don't want to expose myself for having bad spelling. I think there's an H
in there, whatever. We're just going to put seal. Okay. So we have that. And then we're gonna go and
we're just going to pick the main color of of her everything in
the foreground first. So earlier, if you remember, I was talking about I
want to rust color, so I'm gonna go with that. And from there, we're just going to go ahead and pick the brush. The brush that I will be
that I'll have for you guys. And we're just going to
paint, we're just going to color all of the
foreground elements. Okay? So for those of you
who like coloring books, this is the therapeutic part. Okay, once that we've colored
are back our foreground, we're gonna go ahead
and do the same thing. And we're going to,
we're just going to title this character. So just title it CAR or C-H-A-R. And that'll be good enough. From there, we're just gonna go ahead and
do the same thing. We're going to choose
a different color. You could kinda think of the skin tone that
you're going to go with. Okay. We'll say I'm not
sure what skin tone, so we're just going
to pick a color that's easy to color with. Okay? So we're going
to keep this simple. And keep in mind you have a lot of tools at your disposal. You can use that selection tool if you're using a
digital drawing app. Or you can just, you
can just paint them in and then whatever's
easiest way, if you're using Procreate again, drag the color picker icon over the empty areas
and it'll fill it in and make sure there's no
openings in the outline. And on the next step, we'll we'll go through and
we'll actually get into the details and in each, each area of the drawing and
how to choose the colors. So for now we have
the dominant colors and that's what we're
going to go with. Allow this to form the rest of the way the
colors are going to come out. Okay? And with that being said, I'll see you on video eight, coloring and shading to find your character
in their world. Okay, See you there.
8. Coloring & Shading / Define the World: Welcome back to the
classroom, everybody. This is video number eight, basic cell shading and
light source direction. So what we're gonna
be doing now, we're going to start to block in those areas that define
it in a 3D space. Now I'm talking blocks, I'm
not talking Legos people. I'm talking about
getting there with the shading or cell
shading for now. And then we're going to start to define where our light sources. So first things. First, you're going
to go ahead and decide where is your most
dominant light source. Now, if you notice
my piece, it has, Has the Sun that set and below, but it also has this
blue area up top here. And it also has a
couple of other things, but we're gonna make the blue be the
dominant light source. So based on that, we're going to have
everything below, everything below it
be influenced by it. Okay? So let's see if we were to, I'm not exactly 100% sure
how I'm going to do it. I think I might have it
coming from there or I might have it more
coming from, from here. Might, yeah, I think, or maybe even we could
do it from the Psi. Let's see. I think I might
go there with it. I might go there with it. But anyways, we can
decide as we go. But for now we have that established and we are
going to get to it. So let's decide on the color. So the color, as you can see, the main color that's, that's, that's gonna be
affecting the light. And dark is probably
going to be blue. So we're gonna go ahead
and pick a dark blue. We're going to pick like a
dark and saturated blue. We're gonna go ahead and create, we're going to create
another layer. And then we are going to create it as a clipping
masks that way, anything below it is going to have that is going
to take on that color. Okay? So the brush, we're
going to use a Renault, use like a line art brush so
you can go ahead and pick the liner brush and then
just change the size of it. And we're going to go ahead
and decrease the opacity to maybe around 20 or
something like that. And that's what we're
going to use for now. Now to define the shadow areas. You know what? Let's go ahead. And for this purpose
of this demonstration, we're going to use one
of these to define the light source or the
direction of the light source. Okay? So let's say the light
source is coming from there. Okay? We're gonna go back
over to our solution. Let's go ahead and title
that cell shading. Okay? And let's see how this looks. So an area is going
to basically, you're gonna go in and go ahead and start to define
everything like this. So the areas that are
receiving the most amount of light are not going to have the layer of
cell shading on it. And the layers that
are receiving more, they're receiving more light, are gonna be shaded. So this what we have here, if our light source
is coming from there, that that plane of the arm is going to be
receiving more light. And we're just going
to go ahead and do the dark areas that probably wouldn't be receiving
nearly as much light. We're going to do
those as well, dark. And then we'll go back
in and erase as we, as we need to define
areas that are in the dark that might have a little areas that are
receiving some light. So this is what we
have as you can see, its influence or the, the light source is coming
from up top up there. So everything started
to take form. Okay. And you're just
going to start to define those folds in there. And basically you just get to the whole piece
and you start to define everything based on that. So I'll come back when we're, as we progress in this. And it's important that
we go in and we define the big areas first and then we go back and do those details. Now I know in the
beginning I'll show in the demonstration and I kinda, kinda got stuck in the details, but this is how, this is the process of what
you're actually doing. You're going in and
make sure you define all the bigger areas
that are going to have some layer of shadow
to it first and then go and smaller and start
to break down the areas. Okay, here you may have noticed a couple of things have
started to take place. The first thing is that we
have a basic understanding of the colors of the silhouette. Now that applies for the background and the
character as well. Also, we have an understanding
of the direction of the light source and
how our light source, or dominant light
source has to say, are affecting the
character and the items that are being influenced by. Next, we're gonna
go ahead and break down each little
individual element. We're going to say, okay, we want the hair color, we want the bars, the scholar, we're gonna get
down and really get detailed and
distinguish those items from the flat colors
in that they are now, something to keep in mind is that the silhouette
colors are going to influence the colors that we select for the
individual items. Okay, see you on video nine.
9. Color Details / Smoothing Cel Shading: We're going to step
away from that beautiful creation for a second. We're just going to visit our good old friend,
Timothy, the toaster. He's back with another
lesson for you guys. So let's talk about backgrounds
and how to pick a color, colors to based on
your background. So we're gonna go
to the background, we're going to
decide what color. Let's say. Let's use a red. Now remember the reason why you
chose the color. We chose red because let's
say Timothy to toaster, burn the house down. He is a fire hazard after all. So we have our red
background, right? And up underneath that layer, let's create another layer, and let's go ahead and
create a silhouette. Now, we're going to pick a
color based off the toaster, so it's gray, so
we're gonna go with just less saturated pink. Okay, so we're gonna
go here and paint it. Okay, so we have our toaster, okay, now we're going
to make a braid color. So using that same thing, we're going to go
ahead and we're going to look at this and
we're going to say, okay, this looks pretty great, but it's also looks
a little bit brown. So what we're gonna
do, we're gonna go select that color
and we're going to go up to the sliders
and we're gonna go to adjustments,
the magic wand. Then we're gonna
go to adjustments and are hue saturation. And whatever. We choose, a hue
saturation and brightness. And then we're just going to, we're just going to
play around with the colors until we can try to figure out something
that looks a little bit more gray and a little
bit more fitting. Now, it might depend like how saturated
the background is. So we're just going to
leave it right there, just a little bit more gray. And then we're going
to make another layer. Now. Then we're
going to use this gray to base our brown office. So what do we know
about Brown is that it has a slightly more yellow or yellow in it than
than grade does, right? So we're going to
just bring it over a little bit and we're
just going to give it the visual eye test and see if it checks out
and where we are. Our hypothesis was correct. It did check out.
So we're gonna go ahead and color that toast. Okay, and then let's give
it a little bit of variety. So we want to choose a black
color for, for this handle. Now when I say black, we're not just gonna go straight
to the black and just put it on there because then
it's going to look like a dark hole and astronaut
or a black hole. And that's not what
we're going after. We're gonna go after a
realistic dark color, okay, So we're going to
sample that color again. Then we're just going to
go down a little bit on that color picker and
choose a darker color. And again, we're going
to see if it checks out. Now this came out a
little bit more brown, we probably would
have hoped for. So let's see. So that's a little bit brown. We're looking for a black. So after we paint that and we're just going
to go back up to the adjustments that
we're going to go down to Color, Color Balance. Now, what did I say? I said it has too
much brown in it, so we're gonna go ahead
and see how it looks if we add some blues and we're going to click Color Balance
at the bottom right. Then we're gonna go to shadows. Then we're going to put
a little bit more blue. I didn't, I didn't highlight the highlight just the handle. So here we're just going to
start to push those blues around the cyan and blue to see if we can
get a different result. We're gonna go back
to hue saturation and brightness and just lighten
it up a little bit. And I think that's great enough. Now as we can see, as everything has developed, we see our toaster is a
little bit more brown and we hope so We're gonna go
to color adjustments again. We're just going
to maybe take down the saturation just a little bit so that the
toast looks brown. And then, and then toaster
looks great in comparison. So let's sample
that tells color. Now we're going to go ahead
and give it the crust. The crust will be simple since we know it's in the
same color family, we're just going to go select
a slightly darker color of that brown and we're just going to go
ahead and paint around it, the crust area of the brain. Okay, so our toaster is
starting to pan out here. I think we want, I think I forgot the
little knob right here. We're gonna go ahead and
make that black as well. Use this black down here. Here. Here. I'm going to come up in here. And we're going to say,
these are black as well. The little great stay, heat up the toast. Okay? And then we're
just going to make another layer, okay? Then. We're going to choose
what we do for the, for the shadow color. So we have, we're going to
always go very saturated, okay, very saturated
on the lighter side. Then just go ahead and knock down the opacity a little bit, create another layer clipping
mask if you want to. And then we're just going to, we're gonna go to Clipping Mask and then we're
just going to lower the opacity down to
maybe about 20:30. And then we're going to
see how it comes out. So that's a little
bit to, to orange. So we're gonna go a
little bit more purplish. See how that comes out. That's not what
we're looking for. Let's see. Let's try a little bit blue. Now you can, this is, the whole thing is a
experiment like you're just going through seeing what
works and what doesn't. So we have our color that we're going to use for
the shaded areas. And we're just
going to go in and paint all those areas
really quickly. Okay, so this is where
we're going to leave it at. This is just a quick example of how to how to do the color
because I feel like I forgot a few things and
we're going to leave it there as you can see us in perfect harmony with
the background. There's enough red
in it to make it believable like it could exist. Okay? Okay, Now we're just
getting into applying all those concepts we just
learned on our toaster. And we're deciding on the colors that we need to make
our character work. Okay, So at this point, I actually skipped ahead, added a few colors, added a couple more
background elements. Just trying to make
it more interesting, I actually changed the direction
of the light source to a more side angle on her left side because I felt like it was just
more interesting. Now, if cell shading is more of the vibe that you'd like
to go for in your art. You can go ahead and leave, leave at this point and
proceed to video ten. But if it's not, then
you can stick around and we're gonna go ahead and
take that smudge tool. And we're going to
soften up some of those edges that are less hard, like the legs are. Some of the smoother areas keep the cast shadows with
a heart age though. And as you notice, I'm gonna go ahead
and I'm gonna go ahead and sample that
same color here. Okay? Because some
areas you might, you might be able to hit better
if you go ahead and pick the inking brush and go in and soft and back hard enough
those layers again. Now typically those will be the layers that are
for cast shadows. Cast shadows usually have a
slightly harder edge to them. So to give it that
little dynamic effect, just go in and go ahead and
ink and those areas that are, that are defined by
the cast shadow. Okay, So I softened up
some of those edges. Keep in mind, there's a lot of hard edges as well,
especially on clothing. Reject cloning to be specific, you are a
lot of hard edges. So again, no smooth
out everything keeps some stuff hard and crispy and keeps them a
little bit softer. And now make it a
lot more dynamic, a little bit more realistic. Now let's compare
it to the original. As you could see, definitely softer and softer approach will definitely come in
handy on the next step. As you can see, our characters
finally starting to take. This is like the meat and
potatoes of the character is done at this point we have the breakdown of everything. We just need to ask
some more details, make sure that the background appears is as it's
in the background. Not just depth wise, but Shadow wise and
sharpness wise. Maybe let's say we
want some rim light. We're going to add all
that in the last step, but we'll do all that
on later videos. This has been V0 nine, and I'll see you on video ten.
10. Final Details / Last Hard Part: Welcome back to the
classroom, everybody. This is video number ten, final details, aka
the last hard part. It's all downhill from now. So you can just
think of yourself as an artistic bobsled or, you know, I'm saying
you already climbed the mountain now
it's all downhill. And before you look at the
video and let's say this is 15 min long here,
obviously lying. Rest assured, these concepts, I promise you are not as
complex as the last ones, and they're just those
finishing touches like the frosting
on top of a cake. Not quite the sprinkles,
but the frosting. Okay, now that we got
everything that we need, we've got the
background and whatnot. We're going to focus on a
few different concepts. The first one,
ambient occlusion, that's basically where light
is less likely to reach. That adds detail. We're going to also add
those highlights as well. That's very important. That will definitely give it an extra dimension
to make it more 3D. And then we're going to have a reflective layer of like wherever light
will be reflected, especially if there's a light or something that shine and it's
a highly reflective area, then that light is going
to be bouncing everywhere. Then we're going to have one
for rim lights now that, you know, if the light is just catching something
just on the age. And then we're gonna
go ahead and add at the gradients on some of
the shadow areas that includes some of the cast
shadows were received these and a few other areas that'll
help just push things forward or push things
back into the background. Maybe we have our colors that
we're going to shade it, our character, and
we're going to start with the character. Let's just sample that color
and see what we have here. Okay, It's a blue. We have that. So we're
gonna go ahead and create another clipping
mask layer for that. Just darken it
just a little bit. And you can bring the opacity down a little bit to
like 79 or something. Go ahead and pick the
inking brush and then go in and put in or that's
probably too dark. So I'm gonna make
that a little bit lighter and then just go in on those areas where where light is most likely
not gonna be reaching. So just darken in those. Now keep in mind
some of these areas where light is less
likely to reach. We're going to go back
in and blend those out to make them, to
make them make sense. So go ahead and pick
that blending tool. You can pick, you can pick the soft brush and go ahead and blend that
in to make it make sense. Now, listen here, we're going to talk about the cache
shadows real quick. So you might remember that we talked about leaving
them with a hard edge. So we're going to keep that, but this time we're just
going to reinforce. So let's just go
ahead and draw a line around the area where the cast shadow will
be, will be influenced. And so we're just gonna do that. Okay, and this is the cast
shadow from her body. Now we're going to
go ahead and pick any rate the erase tool. And we're going to go in and erase just a little bit and make it make it look like it's a separate shadow from
the one on her body. And basically that's how you create the cast shadow effect. And just do that for all the
areas where that applies. We're gonna make selection
where we don't want to, where we want to
focus on one area and don't want to rule.
We have around it. Moving on to highlights
which are going to want to do is pick the color of
your dominant light source. For me, I had the sky, so I'm going to
pick a light blue, pick a light version
of your color, and then just go ahead. And painting the peaks
of those forums. So by the peaks, I mean that if it's
a rounded object, this is gonna be the object that is closest to
the light source. Now this goes for the
most reflective surfaces. Other areas that are
more Matt are not going to have this much
of a highlight on them. Alright, so you're
going to want to have an undertone for a character. So go ahead and pick
a reddish color. I'm gonna go with like a
reddish purplish color. This is going to be for
the blood all all skin has some degree of translucency just depending on how pill you are, will determine how much
does show up that darker, you'll see less of that. So anyway, we're going
to go ahead and pick a soft airbrush tool are soft airbrush tool and we're gonna go over those areas where the light is hitting
and it's really exposing those
layers of the skin. So make sure we just go around the highlight
a little bit. Then we're gonna go to
areas that we'll have more blood and more thin skin, skin like the nose, the cheeks, the side of the
face here where the light is hitting other areas like the knuckles will be
examples, the knees. And then just
experiment with it. Bring the opacity up, bring it down and see
if it makes sense. You might even have
to go to adjustments and change it up to make it fit perfectly
in your color scheme. Let's go down to our background layer or
background, whatever. And then we're
just going to make a clipping mask
that's bound to that. Let's just put that on the top. Now, a lot of these
areas you'll notice, like for instance here, you'll notice I put like a hard edge and
just left it there. So we're going to take the brush that the
edge controlled brush, and we're going to follow
that all the way down. Now hold your finger on, on it and it'll snap. Now, that illustrates
the reflective quality of it way better
than if we just, we just shaded it smooth. Now it depends on what type of reflective things
you're working with, but that's what
we're working with. Maybe that's too
intense of a highlight, so we'll go ahead and knock
it back a little bit. And as everything else, we're going to experiment
with that as we go. But moving on to quick, quickly about the line art. Now, as you can see, there are some areas that as
we get more and more detail, we don't really need, like
for instance, the knees. We can just go ahead
and erase that. You'll notice these
line arts are the same color from
everywhere now, some areas they match up well, some areas they don't. So for the areas that you don't, you just go ahead and
sample that color. We're just going to make
a slightly dark click on your character line art layer and then just go to Alpha Lock. Now alpha lock will
keep all the color bound to that layer
no matter if you're painting outside
the lines are not. So we're just gonna go ahead and find a color that's
not too crazy. Sample a shadow color, just go a little bit darker. So this really describes the hard light
that's going to be just hitting the
age of an object. Just to create again that frame, which I always enjoy adding. I want to talk about creating a rim light to
frame the character. Okay, so go ahead and take
your inking brush again, one of our best friends, We're gonna go ahead and pick. We're going to create like
a light source in the back. We're just gonna go ahead
and sample that color. And then go ahead
and bring it up or bring up of a
brighter version of it. And then you're going to
take that same color. And you're going to take it
over to your character, okay? You're going to put a layer of it on top of all
the rest of them. And then you're just going to
paint the age of her face. And then we're going to talk
about reflective color. Now, we have a pole right
here and this area, we have this ground, which is metal, which you'll
have a lot of reflection. So what you'll do, you'll
just sample that color. Just make it a little bit brighter and a little
bit more saturated, which will make it a
little bit more fun. And then you're going
to pick like say like either airbrush or the medium hard brush
and you just go through and just
paint like a slight, slight depiction of
that reflective light. Now, as you can see, that's already put in her
directly in the world. All those things we're
going to go through, recycle these concepts,
re-apply them, and then we'll come
out with a product. After that. We went and we reapplied all those steps
that I taught you. And we got to this
point that we are on now and everything is
looking pretty good. If we if if that
step was the icing, they're all we need to do is add a couple of sprinkles on there. We need to go ahead and write some fancy swirly
cursive names on there, put some candles on
there, I said it off. So we're gonna leave
this right here, and I'll see you
on the next video.
11. Finishing Touches: Background & Effects: Welcome back to the
classroom, everybody. This is video number 11, finishing touches slash
background and effects. Now, before we get started, I just wanted to
make a note that I actually did do a couple
of things off camera. I just went ahead and apply some of those
concepts that we described on the background and just added them everywhere
where I felt like they belong. And also you might have
noticed the highlight. The main highlight has changed. I decided to go with the sun
being the main light source. Just felt like it made more
sense given the position where the sun would be and just basically how
she's being hit. So I felt like that make sense. So I went ahead and changed it, gave it a little bit
more yellowish red, and I just apply
that everywhere. So without further ado, let's go ahead and add the
cherry on top of this, Andy. Alright everybody. So we went through and we
tinker around and we applied all of those same principles to every little element
on the background, trying not to miss
out on everything I may have missed out on
a couple of things, but I tried to cover all of it. But anyway, anyway, you hit this point where you've
got a few layers. If you're using
Procreate especially. And then you go to make
another layer and guess what maximum limit
reach procreate trying to hold you back, man, we're not going
to be held back. I think it's a memory
issue or something. I think the size of
whatever processor or whatever isn't big enough
to support a more layers. But anyway, we're not going
to let that hold us back. So this what we're gonna do, we're gonna have our
layer that we're working on and we're
just going to duplicate. So we duplicated the layer
and then we're going to, we're going to use
one layer to focus on the character, okay? And then we're going
to use one layer to focus on the background. And when we're done,
we're gonna go ahead and merge those together. Then we're going to
work from there. But this is just a little
work around and I found on or that I found while using
Procreate since I'm used to, I was previous to this, I was used to use
in Photoshop where, you know, you have
infinite layers. So here we're going to
focus on the character. Let's go over here to the
background because I think the character is pretty
set up the way I want it. I might add a
couple more things. But for now, we're going to
focus on the background. So we go to our, our, our file with
the background. And we're just going to merge all those character
layers together, okay? So you can just group them, highlight them, group them, and then just flying. Okay? And we could do that same. We can even merge the
character line art on there. That way it can
just be all on one. Now we can just focus on the background and add all those extra
elements that we need. So a couple of things
that you might have noticed is that everything's
pristine, clean. We want a little
bit of distress. So we're gonna go ahead and add little things like
maybe bandages rust, maybe there's some oil spots. So we're just going to
add those imperfections and it just makes it a
little bit more realistic, looks a little bit
more lived in. Okay, now that we got that, let's add some lights. We got a light
shining right here. We got another
light source here. We've got some light,
light back here. So we're just going to
bring some life to those. And also yeah. And also we need
to push start to, start to focus on pushing
everything in the back. There's something called
atmospheric perspective. As you move further back, the layers of the
atmosphere will start to become more apparent and then things will start
to get blurred out. So this will be a little bit
more or not blurred out, but things will start to lose their color and
they start to take on more of the color
of that atmosphere. So we'll focus on that
in the lights for now. So for the atmospheric
perspective, just go ahead and
create a new layer over the background layer. We're going to pick
a dark bluish color, since that's the
theme we're using, we can always change it. And then we're
just going to take our airbrush tool. Okay. Go ahead and take the
airbrush and go ahead and lightly paint in those areas
that are receding in space. The further back will
be a slightly darker. Now we're going to take our
selection tool and just erase some of those
foreground elements from our, our, our layer that
we just worked. So let's make another
layer underneath. Let's just call
this layer clouds. Okay? We're just going to sample some type of bluish
orange color. Okay, So we're going to get on our same layer with
the silhouettes. And we're going to
focus on the spaceships this time or the aircrafts, whatever you wanna
call them, highlight. We're going to use
that first one. Let's go ahead and sample
a color from the back. We're going to pick the media, or we're gonna pick
the gradient brush or our airbrush as have
it labeled for you. We're going to start to
do color and affects. Pick the airbrush. And let's see the airbrush. And then we're just gonna go over some of those areas that
are emitting some light. And then we're going
to want to have some of that on our character. So yeah, we're
just going to hide the character and
save the background. Okay. Go ahead and
save it as a PNG. Now we're going to
go back to the file where we're focusing
on our character. Now we're going to import our
photo that we just saved. Then we're just
going to move it at the bottom, below our character. Okay? Then we're just
gonna go in and start to, start to make some
corrections on the character, to make it, to make it match with the background
a little bit more. Okay, so we have the
cake with the sprinkles. Now it's all about
presentation and ask next video for
now you're done. Go ahead and pat
yourself on the back. This is pretty much it. We just need to pretty
much box it up in one of those fancy cake boxes
and send it off. And we'll see that next time. So I'll see you on
the next video.
12. Detecting Issues / Saving Project: Welcome back to the
classroom, everybody. This is video number 12, detecting issues and saving. Can you believe it? We made it through
all those steps and all those hard hard
notes and all of that to the point where all we're
doing is just detect an issue, is making a couple of
corrections and save it. Simple. Okay, so let's
take a look at our piece and see how we're going to go ahead and make those detections. So it might always
look good, okay, first you look at
it all that labor, so it looks good. No doubt. But this is something I like
to do throughout my process. And at the end, especially, we're gonna go ahead and click the Settings and we're going
to go to a Flip Canvas. Now, for whatever reason
when you flip it, you can see it from a
different perspective. And then you get like a new
eye to see some issues. Now, let's see the thing
that stands out to me for my piece is this reflected
light right here. It's not really looking right. Some of the directions are off, so I'm gonna go ahead and
make that correction. And you can go ahead and detect however many issues you need
and make the correction. But for now this is
what I'm going to do. Okay. So you went
through and you correctly however many
issues you detect it. So at this point, all
we're gonna do is flip our Canvas back to
our intended view. When then we're
just gonna go ahead and hit that wrench up top or save file, save as whatever. And then we're just
going to go to Share. And then PNG. Now once you hit PNG, go to Save Image. Next, we're gonna go ahead
and open our image folder. Okay, so that popped
up right there. We're going to hit this square
of top, at the top right. Then we're just gonna
go click Procreate. Now it's going to send to
procreate now it's not going to immediately or automatically
take you to the app, so you have to just
manually click Procreate. Now you'll notice
it's importing. Okay, now you might be
wondering, where did he go? Disappeared. Where's,
where's the image? I just say, fear, not all you gotta
do is sit gallery. Go back to the main, the main gallery and
wallah, there it is. So go ahead and click on that. We're going to
duplicate that layer. Take a look at it. Okay, then we're gonna go
ahead and hit the file again, or we're going to
hit the adjustments, then we're gonna go to Curves. Okay? Now, now you're going to adjust the
darkness and lightness. The bottom-left is the darkness. You can kinda see where, where it starts to, where
it starts to change color. Now you don't want to
go to that first uptick because then you'll start
to destroy your image. You want to go a little
bit somewhere behind us. So we're gonna go into middle. Then we're going to
take the light and then we're gonna do the same. We're going to just
enhance it right here. And as you can see, it shows you which
colors are enhancing, like the blue, the rate. So we're gonna go like here, I feel like this, where
I want my image to be. Now, watch this. We're going to go ahead
and compare the two. Boom, boom. I'm saying, boom, boom, night and day people, this just enhance the image. Now this is the last step. You cannot forget it. So you did all this work. You want people to see it now
you're just going to make another layer go down and just kindly sign in or sign your
name or your tag or whatever, because we want people to see what we've done and
it'll go back to ourselves. Okay, So if, if it appears
anywhere is definitely us. So I'm gonna go ahead and
write my tag here in the back. Okay, so we sign our piece
and we're ready to go. Okay, Next time we're
all we're gonna do is celebrate
on the next step. So hope you guys enjoyed this quick little video and I'll see you next time on video 13.
13. Conclusion and Congratulations: Welcome back to the
classroom everybody. This is video 13, conclusions,
aka congratulations. Yes, unfortunately
this the last video, and although I'm
sad to see you go, I definitely wanted to
congratulate you for making it to this
point in the class. If you have a celebratory
dance by all means, get up and do it because you
of all people deserve it. I've shown you that
never before showing methods on how I
gathered my references, how I sketch, how I add
those beautiful colors. Make those last minute touches, and how they
corrections to my work. And hopefully we shared
a couple of labs because there's always fun to behave
when you're doing arts. Let's go ahead and
continue this conversation over to the project gallery. There you can go ahead and
upload a work in progress. If you have a burning question, you need to be answered. It'll be answered there. And even if you have a
project you're really proud of and can't
wait to show off. Also upload it there
for any future updates on my my personal work or potentially future classes. Follow me on my social
media at bones are buried on Instagram,
YouTube, and Twitter. Thanks for taking the class. This process is tones that
has taught me a lot about my own personal workflow
and how I organize myself. So I've learned probably
just as much as you've met. Thanks again for
taking the class and until next time, Goodbye. That was a good one.
Gerrell Brown
