Transcripts
1. Introduction: My illustration started just like in the very warm summer afternoon atmosphere. I don't know how to describe my own work, but I let other people do the job. I shouldn't do that. My name is Lisk Feng. I'm an illustrator based in New York. I'm originally from China and then moved to New York City seven years ago. For me, having an iPad and then having this Adobe Fresco, I can work anywhere. Anywhere I go, I can express my feelings through art. So I want to guide you through the whole process of doing one illustration from a sketch to fine, and then also, have fun playing with colors, playing with layers and then learn Fresco at the same time. Adobe Fresco is a drawing and painting app on the iPad. You can connect the software to your computer Photoshop. You can upload brushes to create a cloud and then beautiful brushes on your iPad immediately. I know a lot of people like to draw on real sketch books. Watercolor, brush, a lot of real techniques and real materials. Digital illustration is also the real material that you can use. It's just a tool. So if we want to learn it, you will be good at this.
2. You Have to Like What You Make: For beginners who just start doing illustration liking what you do is so important even more important than the professional ones, because you think clients pick you but actually it's the opposite. Your work pick your client. What work you'd like to do will attract the similar art directors or clients and come to you instead of you begging for a job. I found a lot of young illustrators works are very job oriented. Very strong saying that I want a job, I want to earn money and then I know that's unnecessary thoughts at that stage, but it's also lost the originality of your illustration and sometimes it just looks like one of those very popular illustration style online. A lot of people ask me, how do I find my own style? I actually don't know because for some people they thought the style is, what kind of brush you use, what kind of software you use, what kind of shapes you go for, the your color palette, your texture and for me is not that simple. What if I use oil painting next time instead of digital. Do I look the same? I have to. So style for me is all about the content about what you draw. Instead of how you draw, you have to make your own choice of the object you would like to draw. So that means you have to know who you like the most, and that's the most important thing to shape your content of your illustration.
3. Your Project: So about our project, Dream Studio. Everyone has their own minds, and then everyone wants their own personal studio. Some people like tiny house. Some people like gigantic factory kind of studio, so that they can make gigantic illustrations, or art pieces, or sculptures. I think this is a very classic idea to think when you're artist, and then we're actually using illustration to spread that out on canvas. I think it will be a very interesting project for everyone. Everyone can think of their own dream studio. Your dream studio can be like a regular studio, but also it can be like a fantasy version. For example, inside a dinosaur, on the planet that's not belong to anywhere else, under the earth, inside the ocean. You don't have to stay to the realistic studio. This kind of project, you need to design a whole theme. It seems like you're thinking only about the studio, but actually it's not only that. You are creating a background first. You are thinking about where it is. It's in space. It's a space ship, or it's a garden, or it's outdoor, indoor. You have a lot of options. This is the first step, and then the second step is you want to include one or two characters: a girl, a boy, a dog, a cat, or alien. What kind of character do you want to use to put into the environment, and who are they? Then the reason you need to practice this is you have to introduce who they are to the audience as well, and then you have to put all the small objects around him to prove that, yes, he's an alien, yes, he's a cat person, yes, he's a dog person. I think this practice is the first step. The easy step for you to think about what kind of objects and things you'd really like to draw. It's easy access for everyone. Everyone has their own dream studio, and then everyone has their own space they want to design it. It's always so happy to have a home, have a studio, have little objects to organize. So this project is basically a first step for you to find out who you really are. So for me, I really like to collect tiny, little miniatures. I like miniature toys. I have a lot of tiny houses and tiny furniture at home. So my ideal dream studio will be a tiny cabin inside some forest. I want you to think about the scope of your illustration, your dream studio. What kind of studio do you want, and what kind of illustration you want you create, and how long do you want to spend on this piece, and then combining all these elements together, and then design your sketch. So I really want you to take some minute to just stop doing what you are doing at this moment. Peaceful, inner peace. Close your eyes, and just think. Think about what kind of house you want to be, what kind of environment you're dreaming of, a wizard, a space ship, everything. Think about the sketch. Think about the negative and positive shape, what kind of illustration you really want to draw for this project. Then pour a cup of tea or a cup of coffee, and then talk to your cat and dog. Before we start sketching, I really want to show you the basic knowledge of Adobe Fresco.
4. Learning Adobe Fresco: Brushes: So let's open Adobe Fresco first by clicking on the App. This is what you see. You see a lot of document, some of the artworks of some of your used sketches, some of the sizes over here, and then I always like to create new. So let's just click Create New and then click Custom Size. Then here, you see a lot of sizes, different inches, centimeters whatever you feel comfortable to use. I'm just going to do maybe a letter size illustration. One thing that I really like to point out is, this is the PPI. So for digital screen, it's good with 72. But if you want to print out any of your illustrations, the good number is at least 300. So let's just do 300. Just in case, in the future you need the hard copy of your illustration, Create Document. Now, you have your Canvas. You can use two of your fingers to zoom in and zoom out and then here it is. Adobe Fresco. Let's see the left bar and let us see the first one first. This is the brush. You have a lot of basic brushes, comic, dry media etc. You can play with it, and I really like the comic one because you get to have a half tone brushes with pressure which is really awesome. This time they put lettering brushes so that if you want to do hand lettering, you can just use this kind of brushes. Then also you can play with the settings of this specific brush so that you can change the shape scattering transfer. Then by doing these, you can make your flow more smooth or it's easier to do hand lettering. Also, I really like their dry brushes particularly like rough pencil and scratchy pencil. These two are very handy for sketches, very smooth and very handy, and then also for the brush, we have the size, the size is over here and then by dragging this, you can change it to bigger and smaller. Second brush we have is for water color. This is a brand new feature to me, because the brushes can move by themselves, it's called live brushes. I really like this function in Adobe Fresco, this time you can play with the flow and then you can play with the water flow as well. Let's just click on the color, the round circle shape. So here is the place you can play with colors. You can pick out and then save your own color of swatches. Let's see, let's pick out this red color. You just find your favorite color over here. Then, when you draw it, you open it again, the orange is already under your recent swatch. So it's really easy to go back to the color unit used, and then also, you see the 100 percent. This is the transparency. If you drag it, it will change opacity and then transparency. Its way liar but in the same color. So if what happened is if you do it twice, it will overlay on top of each other, and then if you do third time, four time and slowly it will become the left part. Then, after many times, the limit, it will be this one. As you see, this is a thing called HSB sliders. So if you click on it, there is other ways of just choosing colors over here. Lower, exaggerates, brightness, just find your own comfortable way of picking out colors. I'm super used to the numbers, but a lot of people don't work that way. So it's easy to just pick over here on the coloring, and then just pick whatever you would like to use. So let me clean up this canvas again, and then let's open a new layer. So here are my five or six basic vector brushes you can use. Let's just pick a color and then draw on top of it. So this layer will be vector layer, and then if you use your two fingers to zoom in, there is no pixel. So it's always crisp, and then if we use the same color and then we try to find a very smooth sprout brush like the vector, it looks very similar. Sorry. I can't draw on the same layer, because this is a vector layer. So it's very different from the regular pixel. So you have to open a new layer, and now let's do the experiment. So this is a very smooth regular brush. Let's do mean to see that difference. So see the little squares? It's blurry because you zoom in and then the little square is pixels, and then let's moved to the vector brush, see? There is no pixels, no matter how big you zoom. So for vector illustrations, your illustration needs to be super big, or super small. It can be changed size without affecting the illustration quality. So I'm not going to use a lot of vector for this project because I'm not going to change any size of this little illustration and then also vector has less textures. So i would prefer pixel this time. So the forests one is that eraser. Let's click on to see what it is. So here has a 20. It's actually the size. You can drag it. Then, the second one is also the same. The flow. Every time I draw something I need to go to the eraser a lot and then how do I do it faster? Don't worry, they solved this problem. If you see the left side, there's a little circle. So you just put your finger on top of it. For example, let's pick a regular brush. Let's go for a very textured one so that it's more obvious, and then pick random color. So when you draw, your like, oh I really like this red but the shape isn't good,and then I really want to use the same brush as eraser. So the fast solution is just press on this little circle and hold it. Then, it become erased with brush. It's very convenient and fast to switch. Just release it, its brush again and then hold it. It's the same brush texture, but you eraser. So basically anything you draw, any brushes you use, it can be a eraser of too. If you have a lot of your brushes you like to use in computer, there's also a way of putting your own brushes into this selection by clicking the plus, and then you see the first line as get more brushes, and then the second one and import from files. You can either put it into the cloud, or just try to put it in your iPad already, and then you can import from there to your Fresco.
5. Learning Adobe Fresco: Other Tools: Let's go back to a random layer. Write something on it so that you can see it clear. The fifth one moving when you click on it, it become like this. It's actually transformed. So by doing this, you can drag the point and then change the size of it and then the length, the width and then spin and also flip by clicking the little icon on the right corner. Very easy to understand. Then the sixth one is the Lasso tool. I use this for changing things. For example, you want to have a shape selected. Then that's how I'll do. You see this Grey area and then underneath it you see transform, erase, mask, deselect, and more functions. Let's go back and then select half of this. So you see, I selected this zone and then you can go back to brush and then draw without affecting other area or transform so you only change this part of it. It's very easy. So the Lasso tool, when you click the first option over here, it's actually like combine two zones together. So that whatever you select, they connect to each other and then become a new same zone. Then the second one is deselect from this zone, cutting the negative shape. It's very easy to use when you need small changes and then also you see the brushes. That means you can use your brushes to erase or add more zones. The thing that you draw is actually the zone you select. So when you are changing or doing things, this Grey line always show, because it tells you where you are changing things, where you select. For example, you go to the brush and then you draw something and then you're like, "Okay. I'm done with this," then you just select deselect. So this is done. Your layer is done. Then this is the color bucket, just click and it fill colors. After the color bucket, we see eye drop shape icon and then you click on it. It actually allows you to copy any color appeared on your canvas already, even if it's transparent, brushes overlay on another color and then you can pick whatever you saw on the canvas. For example, I want this pink again. Then you just drag this. You see a ring I'm moving, and then you just drag it to this. Then you will see the pink here. See the overlay area and then you click this, then you just have a darker pink. So basically, it's a faster tool for you to repeat what you've already done and then not choosing colors again. This is actually called place image tool. So it allows you to use your photo and then put the photo or reference on top of the canvas. So let's just camera roll and then pick something like some illustration on this and then you can just drag it and then put it and then use it as a reference or use as a sketch underneath your canvas so that you can know what you are doing. Sometimes, you can take a photo of your sketchbook and then just drop it on your iPad and then use this image tool and then just put it inside. So it's very convenient to sketch even on paper and then you can transform into Fresco immediately. So this is basically the left side and this is the Home button, by the way. So if you click it, you'll go back to home. So the right side we see two parts. Actually, I want to show you this. This is settings. So you can flip your image, you can change things, you can just resize it by clicking the sizing, you can change whatever you want. Then this is the Publishing button and then this is the Undo button. Very easy to use. These are some gestures, guides, touch shortcuts, and then you can send feedback to them if you have any questions. Then the corner one to arrow one is actually the full screen button. So if you click it, it's easy for you to see the whole canvas without the tool bar affecting the canvas. Then this button below, two piece of paper laying together, actually layers. So hide it or show it but I always show it. It's really important to range the sequence of the layer and then get used to them. Well, let's see the bottom part first, see the plus button, that's called add one more layer button. Let's pick a random brush again, pick a small size, and then let's do an apple first. So what that layer do is, you add another layer underneath the apple, so that you don't have to paint the red color like old times. Onto paper, you have to affect the black line. If you want to, it's good but sometimes it's just time-consuming true just go around the black line. So what the layer do is you just don't need to worry about the black line because it's basically two paper overlap on each other so they won't effect on each other. Well, that's the awesome part about layer. I found out about it when I was 14 and I thought it was magical. Then also layer has a lot of effects. So look back to the right top corner below the layer button, there is layer properties. So what these do is, you can actually change the opacity of the layer. You want a pink apple or transparent apple, then you can change this opacity and then blend mold. You have a lot of different kinds of effect and then I will show you some of the effects that are really important for example multiply and then also the eye button over here is actually just hide or show the layer. Then for connecting the three dots, you have more functions by duplicate layers. You just like to repeat the same content on two layers, copy layer and then you can paste onto another canvas, another area the same apple you want two apples on different layer and then also mask. It just save a lot of effort of changing one thing after you finished. So that's a basic of Fresco. I just want you to know where the things are and what's the function of those tools.
6. Sketching Your Dream Studio: So in this lesson, we are going to go directly into sketch, and then our theme is Dream Studio. When I got the theme I always try to find a way to calm myself down first and then clear my head, or there are other situations like you ran out of any ideas and you can't think of anything and then it's always a good way to step outside of the box a little bit to stop from thinking about the same idea over over again and can't figure out anything. So my way of doing this is drinking tea. Some of my friends drink a lot of coffee, some people just walk to a coffee shop. They just say, "Want to walk outside the door a little bit," and that's their way of calming themselves down. Sketch is the most important step in my opinion. So once you've got the sketch down, the final process that actually not that difficult,. But the sketch process is about ideas, so you have to bring sometimes a lot. So I'm going to pour some tea for myself so that I can get into this mood immediately and I think about the studio dream. Now, let's start sketching. Then first thing I would do is open a new layer. So now we have it, and that way we can separate the line work and then the background canvas, the white paper so that if you need to change something or delete something, it will be easier for you. You can also edit the transparency on the line work so that it will save some time in the future. Before I started sketching, I will pick one or two brushes. I normally like to use pencil-like sketches. So here, I think the dry media one, the rough pencil is always very easy use brush. Then I will start from the key shape of the main house because I actually really liked to keep sketch process as short as possible, as fast as possible because you want to capture the image in your brain so that it will have this very original moment. Make the size small so that it's easier for you do details and let's draw a house first. I'm just going to draw a tiny studio because first of all is easier for me to finish it in front of you, and the second is I personally want one. I want to put bookshelves there, I want to have a table, I wanted to have a lady drawing over there, some plants, and then a T set maybe. So I'm just going to hide some books over here. Then this part, I'm thinking about some suitcases, vintage, wood boxes. It's okay if it's not like super perfect. So the top shelve are done. So what we're going to do next is I'm going to make the lady. I'm thinking about a girl sitting there and working or reading her book. Let's draw a book, gigantic book because it's a tiny house so I want everything big to make the house smart, and then I wanted her to wear a tiny pattern dress, long leg. I'm treating these shapes because I just wanted because the house is are sharp shape so I want the character to be as round as possible. So sometimes, I will like come back to the lady later after I create the chair, the table, I will change the size of her maybe, but let's see first. Then this is the chair. You can think about what chair you really want. I want a Windsor chair, linkage Windsor chair so that you get small details like those stripes shapes. Then we're going to put the table. So I'm actually thinking about a rectangle table with a little lamp on it. So this is our table, and the tea pot over here maybe, and then a tiny cup over here. That's our table. Then put the legs on. I feel like all of them are true cramped together, so I will use the lasso tool, and then circle out this area to change the size of it, to play with it. Then click Transform, you simply make it smaller. So that leaves some space on the right side. Click Down. Then click Cancel lasso, deselect, and then that's it. You have lady changed. Then I want to put a plant over here, big leaves, I want to go on top of this, go out, be brief, break the shape, you go with it. Then I want to give it a thickness of the wall outside. I also want a window, so I will put a window over here, just small lines. The floor. I'm thinking about what floor. So there might be some wooden stripes. Because the shape is so secured and safe, I don't want to do a full background for this illustration, so I want to break the shape a little bit more by bringing more environment around it. So I am going to draw more plants and maybe put a cat in it. Just want to have several bushes, grass. I always do sketches super fast because the first thing is always most interesting one in my opinion because sometimes over the time when you spend too much time, too long staring at one thing, it won't feel natural anymore. Just like you're drawing on a paper with ballpen that you cannot erase. If you have that pressure, you would draw better. So I want the cat over here, a black cat. I have a black cat called popo, so I want her in my illustration. Because it's a dream studio illustration, she has to be there, soulmate. So I want a little bit more trees a little bit, branches, flower maybe, yeah. So basically, I think this almost there. I want to add a little bit details on the top, maybe a bird. So that's my dream studio. Pretty cool. I'm trying to make the piece centered and then not like tilt it so a little bit. That's good. Yeah, this looks good. Every time I reach this point, what I do is I go to this layer, and then click this button, and then choose the opacity, and then bring it out to a little bit transparent. Then I normally put this layer on top of everything or underneath everything, it depends on what effect I want to have. This time, I'm thinking about just putting on are nice because the other layers will be transparent so I don't need to worry about not seeing the sketch afterwards. So this will be it, my sketch process, very fast. So in my opinion, sketching is a very important step. When I go for final, I always be tighter because I know that this is going to be a published work or a final piece. So I will loose a lot of the looseness. Then for your first sketch sometimes bring the loose back to your final. So I think it's a very good way to play with and then also if you want to try this out on your Sketchbook, you can give yourself all 10 minutes for two sketches, for too little ideas. If you keep practicing, you will notice that you can think faster too. So the next step we're going to play with color.
7. The Limited Color Palette Method: I personally don't think I have a good color sense at the first beginning because I don't have any color theory, I pretty much self-taught. I pick out colors that I like the most and then start drawing from the beginning when I was like 13, 14. So I start to build up my own favorite color swatches during that time, and now I still use the similar color palette, which is interesting. I got a lot of people ask me the same question: How do I improve my color sense? How do I pick the right color? How do I know I picked the right color? Then the answer is no, I don't know, because everyone has their own color sense and it's quite different. If you're struggling a lot on picking out the right color for your illustration, I highly recommend you try limited color palette method. This method, I personally love it, and then I use it because I started learning screen printing methods. So that means I only get to use three to five colors per illustration so that it's easier for them to print it out or for me to make the real print. Today, we're going to use only three colors. It's three very basic colors: red, blue, and yellow. As you see, the sketch layer is here already. Then what I'm going to do is add one more layer, and then let's go into the colors. So right now I'm going to just pick out my favorite, red. So the ring on the coloring is, you pick out the general color. Like, you want this red, you want a little bit purplish-red or orangish-red, you see it immediately. Then after you pick out this color, you go into the middle square. Then it has different diversity of the same red with lighter and darker. So I will just move it to the left a little bit because I want to mix watermelon red, a little bit white pastel red, just move a little bit. You can adjust by doing this. So let's see the red. It's good. So the red is set out. If you want to get it back, it's already over here. It's under recent. So the red is saved. Then let's pick out a blue. I like this kind of blue, maybe a little bit green, towards the green, yes. Then the same volume, not so bright. I will not change it. It's perfect. There's the blue I really like, and then you have it already. Let's choose a yellow. My favorite yellow is not so lemonade color. It's always a little bit orange, towards orange and less vibrant, because yellow can be a little bit too overwhelmed sometimes. It's so bright. Now you have it, the three colors you like. There are millions of combinations you can play with with this method. Then you can even add to four colors, five colors, to eight colors. Then for me, the most important thing is to build up your own color palette, to build up your own color collection so that now I know which two colors put together is beautiful than the other combination. So you have to practice and try it out over time. Then also try to save your own swatch for your drawing process. When you are doing a series of illustrations, always used that red, always use that orange. It will give your series of illustrations a kind of consistency. Even if you don't draw the same stuff, they looks like they belong to each other. That's how powerful limited color palette is.
8. How to Use Limited Color: Let's open the three layers first for these three colors. The method I'm using is actually to see them as transparent. So when I mixed color is not like the red and the blue mixed together. I'm going to change the layer properties on the right corner. You click and then you see Layer Properties, and then you see you now blend mode as normal. So I'm going to change it to multiply. Then I'm going to just change these three layers all into multiply. Okay. This method we separate layers by color instead of elements. So when you look at this illustration, you have to think about what kind of color needs red? For example, if you plan to have a black hair, you need to mix blue and red. So for this red layer, the hair must be red. But you actually want a darker hair. So the second layer I decided to use blue. The blue I draw on top and then it's already the black. So for this method you will have a very consistent color palette for the whole illustration. But you also have a lot of diversities by doing this, and this will help your illustration looks more simplified and abundant at the same time. I think it's pretty smart because you use less color, but you reach a very abundant effect. It's okay to leak a little bit outside of the shape because that's the magic about printing, the registration can never be so accurate. So I like that. I want to have this rough feeling. I want to have like a not perfect kind of block so that it's vivid. Get rid of one. You see blue, and then you have the dark color. So let's repeat it over and over again, and then you will know that the whole illustration can be mixed with three colors. I always leave the yellow to the last because yellow is easier to apply. So I'm thinking about her being pink on her flesh. So let's use the same red but turn down the transparency like probably this. For new beginners, I recommend you open a new layer one is transparency is different so that it's easier to manage in the future. So I'm just going to paint the skin. Because I did not change it to multiply what's going on is I just have the opacity on top of things. See. But if you change this layer's blend mode to multiply then it's gone. Another solution is to use the same opacity as the red and then you turn down the whole layer's opacity later. Because when you change the brush opacity, you have to give it a one go. If you for example draw this and then stopped, and now you start all over again, these two colors will overlay. But sometimes you want that. But if you don't want it, you can just get rid of everything and then use the same red 100 percent, and then multiply, and then opacity. Then you can stop wherever you want. These are two different methods. You can have different opacity. So what I'm doing is just color the skin tone the same. The good thing about changing the opacity on the brush itself is sometimes you do want to have another layer immediately. For example, you want to have a little bit pink on her knees, and then use this method, the layer transparent you don't have that. But if you use the brush opacity, you can get it in one second. Now I have to open another layer and then put on the paint, and then combine these two layers together. So now this is the pink. I'm good with this shape, and then I just want to go back to this layer to save some time, and then just turn the opacity down to a very light level, and then give it a tint over here. Okay. So let's see without line work. See. These are several blocks finished. You will ask, but these two legs are not separate. It's just a block of pink. So bring back the sketch layer, and then let's involve other colors, and then you will see the magic. So I make the transparency lower on the blue, and then just want to draw the shadow of it. So I like to have this leg in shadow, and then you just multiply on top blue there, and then over here the same. Then you're thinking about, I want a red shoes. So let's go back to the red, and then 100 percent go back to the red layer, and I just give it like this. So as you see, the girl's skin tone is ready. So the same method again, red shirt, right? I am thinking about red shirt and blue skirt. I'm doing the smaller brushes and then paint very painfully because I want the textures. I don't care about the chair at this moment because you can always manage the layer later. If you want to do it in now then you have to draw the chairs right now because I'm thinking about a black chair as well. So this method looks very easy, but it's actually difficult when you get into this because your logic will be ruined. It's very opposite from what you know about drawing. It's backward. You have to know what kind of color you're planning, and separate the layer by color is super difficult for people to think. But if you understand what's going on, then it will be really fun to play with. If you can understand the color method, it's okay. Just playing with the three colors you have and you will still get good things out of it.
9. Building Rich Colors: So the chair is okay and then let's go back to the blue. The benefit about this method is if you mix the red, you light, and then the blue light, you have a darker color is always richer than a real black color. So I want to separate the chair and then the hair a little bit so what I'm going to do is just use eraser just hold. So I mentioned I want a blue dress, so let's go for it. So basically, the dress and then the girl is almost finished, and then let's go back to this illustration and I do separated the light red layer by using the layer opacity so I am going to give her a blush on the original layer. Have a little bit blush, I like to draw blush, they may people look happy, happy little brush. I want to have a little bit decorative things on the dress so I will just go back to the blue layer and then erase. I'm so 100 percent. Yeah, that's right. This is a classic dress and then I want to add a little bit more shadow on the shirt so the same blue you even have it here. The transparent version is also appeared here so that you don't have to worry about it you always find your own color and then just add a little bit shadow on it so that it looks a little more detail. I like drawing shadow. Shadow is one of the important things to give details to an illustration. I always use it heavily. Let's go to that table, I wonder if yellow, orangeish table so I'm going to use the same red on the lighter skin tonk layer and then just give it a go. If I want a lighter color object on table, I will leave this space out if it's light darker I don't really care, I would just like go over it. So let's open another layer for the yellow. So this is the yellow, make it to multiply then I want it a little bit transparent at this moment. So you will have a very muted orange table and I got cherry wood and then I will go back to the blue and then just add shadow. So the interesting part about this coloring method is you're trying to figure out the relationship you decide for the three colors, it can be totally off. It can be totally your style. For example, for shadow, I will always stick to the blue because I like shadow coat. Some people like warm brownish shadow, it's totally fine. It's just personal preference but I always my logic is like that, I like to stick to one similar tongue tore of the shadows in the one illustration. When you draw small things, always zooming enough and then allow yourself to see it as clear as possible and then make the brush smaller so that it shows more detail. Take some time don't push it too fast. Then go back to the red, give it another go. Also want to rat lamp. Use the eraser to gather details out and then you will use other colors to go back into it to just add a little bit more details. So far this method, I highly recommend you start from thinking about small object first. If you want you train with this color method, start with something simple like an orange, an apple. Try some object that's easier to manage and then go with bigger and add more so that you get used to this method. Just going to give the book a little bit detailed as well. We're almost there and then I want to have a little bit texture on the table surface so that it looks like wet. So I'm going to use the same red, maybe transparent ones and then to do like a wood pattern, I always go back into the object because when you're drawing, you stick to one zone instead of one object you see the light, the shadow affect one object and then the others will be affected too. So I always do the same area together. Some little details on the book, a little bit details and then I think I'm almost done the table, it needs a little bit clean up but it's pretty much it. So now I'm going to just use the same color method and then to finish the whole illustration, it will be the same method so if you can start it yourself it will be really good. So clearly, I am not finished but it's close enough and I think I'm going to stop right here and then tell you more things about texture in the next lesson.
10. Adding Texture: When I was 14 or 15, I started doing photoshop illustrations. I used pencil for the line work and then I put filler colors underneath line work. I always feel like, why it is so different from other people's work? Until I found out about the texture secret. By doing texture, it adds details immediately and then it hide some of the flaws of your illustration. I really want to show you several ways of doing textures on fresco and for this method particularly important because I use this method for mimicking scrum training, so printmaking marks are difficult to make. So I'm going to try to find several good brushes at this moment, and then try to create a very vivid scrum printing texture and show you guys. So the first thing I'm going to do is do you remember the last lesson I separated this pink layer, for the lighter red is actually same red so for the texture, I'm going to merge the red pink layer to the red layer. So that they are actually the same color as just the lighter pink is more transparent than the bright red. Same apply to the other layers it's the same. Lighter blue is also just more transparent, but they're all the same loop. So now we only have three layers, and then I want to for example, do something about the blue because I think the blue dress is boring, when you zoom in, it has no textures. Some of the textures are like this part, there's lower part it's because I used the comic brush as it dissolve half tone brush, but a lot of the solid part I want to find a way to making more interesting. So let's see how we can do that. The first method I want to introduce you is the mask. So you can find the mask by clicking three dots over here and then you see layer actions, and then a lot of the functions you already know what it will do or you can even guess, but the mask a lot of people are confused about mask. I even got a lot of student question asking me, what is actually mask? Is something that help you to height or erase the layer, but not affecting the real layer. When you want to get the older version back, it's just one step, just get rid of the mask layer or if you want to change the texture, it's really easy to do adjustment on the mask layer. It just help you save a lot of time because illustration jobs sometimes is not one go, you have feedback, you have to change things, if you use mask it's a lot easier to make changes afterwards and go back to the earlier version. First of all let's create empty mask by clicking this, so now the blue layer is gone, for example, you'll see there was a blue layer there and then now it becomes a blank. We are on the mask layer and then if you use your finger to swipe to the right, and then the blue layer is actually there. But how do you know you have the mask as you see on the right there is a tiny and half circle? That means you have a mask layer, and what I'm going to do is I'm going to show you something really awesome underneath it. At the bottom of the screen there are two things; one is reveal one's is height. So basically the first step is definitely height and then if you want to reveal it, it's going to show let me show you something. So now we're on red, I don't know if it's black enough but it's definitely 100 percent and then let's draw on top of it to see what's going on. I'm actually not drawing anything. I'm erasing on the blue layer. So that means the color over here is not affecting what you draw on the mask layer because it doesn't matter. Only the transparency matter. So why do this lighter, you eraser will be lighter, it's the same vague. So when I do eraser it's simply like that. For example, let's find comic brush. Let's find, may be there are more interesting things over here, for example, rakes are very good for strike textures let me show you. Like these easy to do, and you can just reduce the opacity so that it will be lighter, and also their sketching ones. I really like to use FX for texture because a lot of them are dots, and then it's really similar to scrum training. I think it's a really fun brush set to play with it. You can just try out, this is no good and then just try another one. Let's use the one that's splatter, this looks very similar to what I want, that use the either ones are similar to what I want. So I'm actually erasing the blue layer, but using the splatter brush, I'm going to just make it smaller and you can make it bigger or smaller, you can just do this, pan tilt or not you can fix anything here. Let's see. I want 50 percent or 40 percent doesn't matter, and then let's just do it. It's too big. More. So I feel like the dots are still too big so let me go back, and timing two fingers multiple times. I found another brush that I feel is more suitable for this part so it's called dusty in FX, so let's try it. See it's very similar to scrum training, very similar very cool. So the leaves are ready, but you can see it's actually on the mask layer. As you see, we're on the layer of the mask but if I choose, transform, and then move it, the whole blue layer will move like this. The texture I just did with on the mask layer is actually stick with the blue layer. Let's go back down and then what if we unchained these two layers by clicking the right one, and then we go to transform again, and then you see the selection, there's only the texture part that you do on the mask? Then you're just moving, and changing the texture without affecting the blue layer at all, and if you want to get rid of it, just delete the mask layer. That's all. Very easy, changeable. So see if I move it to other places, it work the same too. So that's how awesome mask there is. When you do textures, it's just so awesome. Then if you want to get rid of something, and then want to add it back, you don't have to redraw. You just open a mask layer and then cover it up and then afterwards, you can just take it out again.
11. Putting it All Together: So I think I'm so close to finish although I know there are small details I still need to work, but I really want to show you the final product I have at this moment. So I show you the sketch and this was a very fast sketch, done in several minutes, and then I used three different colors to separate the layers, and then I want to show you how this works. Then let's get rid of the sketch, and then now let's see the yellow layer first. So you basically see nothing. Just several blocks of yellow nonsense. It's like, what is this? But after the red layer showed, it will be a little bit different. So you see some shapes, and then you see what's going on, but you feel like this could be a little bit too warm. So that one night bringing the blue layer, it will be completely different. Then is a finished illustration. That's why I pick yellow, blue, and red, because these three colors are always a good combination. But there are also other different shades of blue, red, and yellow, and there are also different kinds of colors. By thinking less and I make everything simplified, so I'm going to go back into this illustration for sure, and then I hope you can spend some time and then zoom in as much as you can to make all the details perfect and then ensure you are happy with it. Don't stop until you feel okay.
12. Final Thoughts: We did it. Hurrah. Looks so fake. You did it. No. It looks like I'm the detective. You did it. So you did it, this is the end of the class. Through this whole process we studied the Fresco, and how we use the tools, and where to find things. Then we start sketching together and also we play with colors. We learn about the Limited Color Palette method and then also adding textures. I think it's a lot of little techniques to learn but I think you'll do great. From this class, I hope you can find what you really want to draw, just like this little practice. It's not going to maybe give you a whole career, but you feel happy while doing the illustration and people will like it too. That's the most important about illustration. I hope you can keep going. Keep doing these little, simple tasks on your sketch book, on iPad, in Fresco, anywhere you can think of as long as you're comfortable. Just keep going and then try to give yourself some project once in a while. Please share your work on the gallery because I'm really curious to see who you are creating and what's your favorite space to work. If you have any questions and please feel free to contact us, and talk to the community, and it's going to be really helpful. Be happy and do great art.
13. Go Further with Fresco:
Lisk Feng, Adobe Fresco Teacher & Illustrator
