Digital Painting Series: Making Your Art Pop in Photoshop

1. Intro: Hey, everybody, welcome to the digital painting Siri's Making Your Art Pop and Photo Shop. My name is Sean Guzman, and I'm a digital illustrator and freelance artists from digital card art, the traditional work and even study with other professional illustrators. I've learned a lot about what makes an effective painting pop. If you've ever gotten stuck with your digital paintings, it really want to push them and make them stand out with depth, color and realism. This course is for you. In just over an hour, we're going to tackle big issues that tend to hold back the level for digital painting and tips and tricks that we can use to take our art to that next level. This course is suited for the journeymen artist, but not absolute beginner. Basically, you need to be at least a little comfortable with your art program and ideally, for this course photo shop. It's also a great course for the Intermedia artist who wants to improve their work and take it to a higher level, with useful techniques and digital painting skills that will increase the effectiveness and quality of their art. You also, of course, needs some kind of pen tablet, whether on a budget or something a little more expensive, either will work just fine. In the beginning of this course, we're going to cover some digital painting basics that are very useful for both. Rendering forms and simplifying are beginning stages with light shadow, then color. Afterwards, we're going to go into creative sketching from imagination and then color and depth techniques and demonstrations that can take our work past the ugly middle stage of a painting and into that final finish in five steps. Finally, we're going to tackle painting a marble bust from reference, applying everything we learned up until this point to create something that stands out and helps you remember the techniques and principles of this class. There's a lot of info in this course, some, including pdf's and some of my favorite brushes to use as a supplement. You will be personally tackling what I teach with an included exercise that you can use to follow along with me to really nail down what you're learning and the final assignment where you apply the techniques, talk on your own study of a more robust or other kind of bus that you like So if that sounds good to you, feel free to join me and share here. Work from this class for review and advice. In this digital painting, Siri's Making Your Art pop in photo shop. 2. A Note on Brushes: Okay. Hello, everybody. I wanted to go over these brushes, Riel. Quick. Before we get onto the main part of this course Now, it's really not about the brush making the artists the artist will make the brush I'm including. This pack is just a supplement to this course. And while this is a photo shop centric course, if you're not using photo shop and are using a different program like Rita Carell painter or Mango Studio five or now it's called, I think clips studio paint. That's completely fine. It doesn't matter about the brush. In fact, you can use the standard Photoshopped preset brushes and do just fine and then supplement as you go. If you're fairly new to digital art now, as long as you have a soft brush Ah, hard edge brush and maybe a detail ing brush. You're good to go, though. There will be one specific video where I go over this brush right here, the core soft chisel brush, and I'll use this fairly a lot in that video because I use it a lot for imaginative sketching. It's because it has that broad stroke, but again, if you're using a different program or don't like that brush? That's fine. It's all your style and how you like to develop your skills. So anyway, just a quick video to show the brushes that I'm including. If you want to supplement your brushes, I'd recommend searching up blurs good brushes. It's a free pack, and it's filled with an amazing array of textures and different types of painting brushes. Now let's get on to the main point of this course, which is digital painting. I'll see you in the next video. 3. Digi Basics Application & Color Part 1: Okay. Um um Um um all right. So welcome to the course. Everyone in this beginning video, I want to go over some basic digital paint application in color tips. Now, I'm using an arm as my subject instead of a sphere. But the same principles will apply as long as we know our color and light direction. So we can pretty much do the same thing, even though it's a more complex form. This will also help me demonstrate harder edges versus softer edges in a painting. So first of all we have are light side and that's determined by our like direction here. So now that we've established where the light is coming from, weaken thereby understand where the mid tone is and where the shadow is. Now you see this rolling form here? This is created at this point where the Linus this will begin that sharp transition from shadow toe light because the form juts out in space at this point catching the light. Remember that sharp transitions at realism, Justus, Muchas soft transitions and newer artists sometimes tend to forget to you sharp transitions of light and shadow and only you soft what this does is have the tendency of making everything done, airbrushed and more on the fake side versus the rial side of things. Now, here I'm just blocking in the base shadow first. Usually I put the whole base shadow in, but in this case, I'm gonna add the lights right away so I can efficiently build up the painting for this video. You see, there's a sharp transition I was talking about right here and now I'm lowering the passage e of the lime works so we can see the paint application a bit better, and any brush you use as long as it isn't super soft is completely fine. The brush itself doesn't matter as much as your knowledge of how light is hitting a form way. Also, feel free to download the pdf for this lesson. This is going to go over the forms as well as color. And speaking of color, let's go to our local color and take a break from our painting for a second. Remember that local color is not influenced by the surroundings. Local color is just the color of the object not influenced by anything whatsoever, and this is also a good way to start a painting because it simplifies the whole process. Later on, what will usually do is add in the saturated versus de saturated color layers. As a form gets closer to light, it becomes more de saturated, whereas if the form goes further from the light, it becomes more saturated in the shadows. Needs color shift for shadow areas, so there's also warm vs. Cool. The color shift in this case will be a cool, so my shadows will be on the blue side, whereas my lights will be on the orange side. Yeah, so I'm using a blue with an overlay layer above it just to add a hint of color. Now you can do this with an overlay layer, but you can also do it with a different type of layer, which I'll get into a little later in this lesson. So I'm just adding a little color, and you have to be very careful with overlay because you could over saturate sometimes. And that's never too good. At least most of the time. I guess so. If you remember these things, you will bring more life into your paintings. Okay, let's delete that. And now what I want to do is go over a little bit of your surrounding colors and how they influence even a local color. And in this case, what I'm going to do is I'm going to take my base skin tone as an example. Now, the skin color we have here is a very, very, very warm. It's on the orange side, so we're going to see if we can make it cooler. So if I get an extremely warm backroom color, you'll notice. Or you might notice that there's a slight change to our I. The skin becomes cooler by comparison, even though it was already warmed to start, and this is because of our surrounding colors. Now, to give you a better example, let's make this background cool and immediately what's going to happen is the skin is going to become warmer by comparison. These surrounding colors will have a dramatic impact on to the characters that you paint, so always keep it in mind as you go. Now, I'm going to go back to my base skin tone and take. It's the next step in Part two of DJ basics application and color 4. Digi Basics Application & Color Part 2: Okay, here. Now in part two, we're going to finish this up with some light shadow edges in color. For purposes of this demo, I'm going to paint up the rest of the forearm here again, just like before. I'm blocking in these base colors and then I'll add more color variation later. So I'm blocking the base light and shadow. You can see even the bottom of the forearm while the values air close. There's still that sharp transition and always keep colors simple to start. Then you can add in additional colors later. It's both practical and simplifies painting. It's even what the old master painters used to do in their oil paintings with glazes. It will allow you to focus on each step individually instead of trying to tackle the whole thing at once. Now I'm going to go over a couple things here reflected light first, which I'm pretty sure everyone knows what that IHS reflected. Light is that light that bounces off a surface and back onto whatever service were painting , and I'm just imagining a blue light. Keep in mind. Reflected light is usually darker than the mid tone as faras values go, but it can appear lighter because it's usually surrounded by shadows, although there are cases where the reflected light is very strong, and in that case it can be lighter than the Midtown like, say, if the arm are very close to a service that reflects a lot of light. Now, of course, the very important core shadow that's a big part of making shadows real and core shadows of the darkest part of the shadow. And they butt up right against your mid tone. And when you add your core shadow, it does a pretty cool thing in that it makes the shadows below. It looks lighter because of it, just adding in these core shadows real quick here, and this all helps to describe form. All right, now we go to the highlights, highlights congee potentially dangerous and definitely fun. You have to be careful with them, though, because they help to describe the forms or painting. So, for example, if this were a metal arm, the arm would take the highlights completely differently than a normal arm. And a good way to simplify all this is that we're basically painting an imaginary three D space and any part of an object that goes out in that three D space towards the light or a part that rolls towards the light gets lit. Okay, let's break down this light and shadow real quick. So there is your highlight, and there's your mid tone and there's your core shadow and there's your regular shadow, and there's a reflected light. And by taking it one step at a time, you can add that depth just by starting simple with that light side and that dark side and going from there. And right now, I'm going to soften this up right here on this part of the arm to show how the muscle rolls away from the light, creating a soft transition. Oh, as you see, besides the soft transition, we also have that hard transition. And what that's describing is that the muscles jutting out in space towards us hitting the light, whereas the muscle right above it, is curving away from the light. So it's giving us that soft transition of shadow versus the hard transition of the muscle coming forward. And the more you know about what's happening in your three d space, the more you'll be able to know where the sharp transition will be and where the software will be. So always remember it and painting. And this will help to describe form and give your paintings more life. It's not all about soft or hard shadows. It's a mix of the two. This adds realism and form, always a good thing to remember and a thing. You can practice the reference. All right, so we're getting close to the end of this video. But I want to go over and show how we can enhance colors further now. We did this earlier with overlay, but this is just one way to enhance our colors. There's multiple ways, and I'm going to show you another one. So right now you can see the colors look plain. They look boring and that pretty much just chalky. And that's how we should start. Keep it simple and then build it up and we're going to do that now. We're going to take a hard light layer now. Hard light can adjust values, color and saturation old at once. You just have to be a little careful with it when you're applying it, because you can go overboard with hard light right now. He could see here. I'm adding more warm light to the light section of the arm, but I'm keeping it subtle. Otherwise, it could look too cartoony. And a good note is to remember that middle tones are more saturated than highlights. Again. That goes back to the saying. As things get closer to the light, they become more de saturated. As they get further from the light, they become more saturated. Now we're going to go back to that warm vs. Cool. I'm taking my cool color cool blue in this case, and very lightly with this soft brush, adding in that cool tone. And what this does, even with this fairly rough painting, is that it adds more depth and interest in your colors, which really helps your paintings to stand out. You could see the layer on and off here. It really brings it out, and this again can be equated to what the old masters did with glazing their colors. Now here's a little note. I'm creating a clipping mask you can see right here. This clipping mass was created by all, plus clicking between my hard light layer in the base painting layer right below it. What this does is instantly confined all the pixels of my top layer, in this case, the hard light layer to the layer below it, in this case, the base painting layer. Since it does this, anything I paint that is outside of the base layer doesn't show up. So it's like an instant mask and color in the lines type of thing. And after that, if you so desired, you converse those layers together, like have done here. Now that I have that together, I'm going to create a levels layer. I'll get into this more in another video, but the levels layer just adds more pop and depth into your values. But you have to be careful because you can easily compress these values. And if that happens, you lose a lot of the realism, and it can look a little amateurish. So in levels, while you can add further depth, it's always in moderation, and I'll get into Maura about depth and painting in another video where we'll be going over bringing a piece of fantasy jewelry toe life. So I hope that shows you the basics of how I go about painting a form and adding color to it. The trick is painting it up simply and building up the colors. From there. We'll go into this further in the coming up video and exercise for you guys. But before that I'm going to go over imaginative sketch painting where you paint out your ideas, you sculpt amount. You fiddle with them to make a character or scene that you like, that you can then take the next step. Later on. I found this to be a very freeing way of sketching out and being more imaginative with your work, and we'll go to that next. So hopefully this video was helpful to you. And again, the pdf is there to download. If you feel you're not getting all these principles just yet, feel free to watch the video again to help you digest information. I look forward to seeing you in the next video imaginative sketch painting 5. Imaginative Sketch Painting: okay. Hey, everyone. This section of the course is going to go over imaginative sketch painting. This way of painting is a freeing way to play around with your paint application and values , but can also lead to some cool sketches that you can later take to finish. If you so desire. Now here I always put some kind of value to start. If I don't do this, it just makes it harder to get something going. This way of sketching is almost like uncovering our idea from the darkness and pulling it out into the light before you start. What's your base idea? If you don't have a base idea what you're going to do, there's a good chance that you'll just have a great big mess when you're doing something like this. So what I would recommend when doing this kind of sketch or any kind really is to have the base idea. The base idea can be anything you wanted to, and in this case, my based idea was just a face turned to about a 3/4 view from us. Very simple, and I can play around with that from there as I go at this point, I get right into it and begin to develop that face. Along the way, you'll see a lot of adjustments as I go, like making the background a bit darker so that when I raced out the forms, they won't be quite so bright. So here I'm considering my wraparound lines and forms. The imaginary wraparound lines you see here helped me visualize what I'm painting and likewise thinking about my forms in tandem with these imaginary lines. Give me a good foundation when painting from imagination. This kind of painting is very much like sculpting. After I have my initial lay down, I quickly begin to push the forms around with my black value an eraser which is in itself just contrast. And that contrast is powerful in describing forms, pushing back a part of the painting and bringing other parts forward. Now, as this is a sketch and unimaginative one of that, I'm going to be willing to make changes always throughout the process, and what you see here is my liquefy tool. This goes back to the sculpting terminology that I use before. Look, if I allows me to bend and shape mistakes, or if I want to just make small changes in photo shop, you can access it as you saw through the menu, then filter, then liquefy. Now, other than knowing I want to do a 3/4 face, I really have no other idea as far as who or what this character is. I'm basically practicing. What I preach here have gone in with just this sparse ist of ideas. I wanted to do this to show how this is still just a sketch, even if it gets pretty fancy with the values. That way, if I want to make big changes, you'll see it right here on this video on how I do them as I paint. It's just a back and forth light and dark and also a little bit of hard versus soft edges. Speaking of adjustments, the eyes weren't looking quite right, too May, So I selected and moved them a bit. Right after that, I took my smudge brush and blended the cuts out together. - Now here, I got the big idea to give her a helmet. I really didn't like this idea. So as I went, you'll see me change it soon after. Of course, that's the point of imaginative sketching to imagine an experiment with different options. Note that on the nose, lips and other areas, I'm not doing all soft transitions, even though it's subtle. Take a look at how the values, while close, are not softly blended into each other. This can help describe form in a painterly way. If you have trouble with this and you're trying to paint ahead, for example, look for some good reference to study how you can accurately paint the separate features. A pretty cool thing about doing this kind of sketch is that if you like where you're going with it, you can immediately take it to a grayscale painting and after finish there immediately, take it to color. And finally, after a fish with that, make it a completed painting, maybe even a portfolio piece. Remember when I mentioned the helmet will. Now I'm selecting a rounder face with the pen tool, making a kind of stencil on painting it out all at once. Very quickly, I changed it to a hood like you see here for the hair. I'm literally just a racing out. Not with detail, either. The best way to tackle hair is to break it down into big sections and keep it simple. You might have noticed. I've been flipping the canvas a lot. I have a hot keyed, but you can do this in the photo shop menu by selecting image, image, rotation and flip horizontally. I'd highly recommend you do this no matter what you're painting digitally. By doing this, you can instantly get a fresh look at what you're painting. And it will also help you find any potential mistakes compositionally or, in the case of the close up portrait like this potential mistakes in proportions. This was probably my favorite change. I noticed the face fell a bit flat to me. So I took a gray and painted in the side of the face like you see here not only are these big changes fairly quick, but they can be great and altering the look of your piece. I'm willing to make those big changes because I remind myself it's just a sketch, not a finished work. So there you have it. I hope this was helpful to you and seeing how we can work loosely up to something. And that doesn't have to be perfect. Not only Is this a fun exercise, but you'll get much better digital painting By doing things like this. It gets you to think about value, how light is hitting something and paint application as well as just sketching in general. In my case here, if I want to, I can take this much further and all the way to a finished illustration. If I'd like, I could even take just this character and move her into a composition with another character. Looking back at her, I almost imagine a Red Riding Hood kind of character looking back at the wolf in the sketch , and I wanted to show you guys how I do this. This video is more about how to create an idea on how to start an idea, because this course is not really focused on the drawing as much as the digital painting. But doing it this way allows you to free yourself up and create an idea to move forward with. Now, if you prefer to sketch with a fine line that works great too. It depends on your style and how you like to do things. Style is both the combination of what you love and the different principles of art that you find that you like to work with better. So, for example, there are some artists, especially comic book artists that prefer to sketch with a nice thin line and scribble their ideas out. Where me, I'm more of a painter, so I prefer to paint out my ideas. Either way will work, and either way will be a part of your style. The thing about it is picking and choosing what works best for you. So I hope you've enjoyed these videos and the next lesson we're going to explore pushing color, depth and beauty of a digital painting with helpful tips and tricks. This will be about taking our art to that next level with an example of a piece of digital painted jewellery, So I hope you will join me in the next lesson. Color and death in photo shop 6. Color and Depth Part 1: okay. Hey, everyone. In these next two videos, we're going to be focusing on how to bring a basic digital painting up to a higher level in five steps. We're going to start with a simple painting I did off screen using the same methods that went over in the digital paint application video and in this video at color and depth to it . I wanted to do this video because I used to have difficult to getting a painting to look. Quote realer, and I found that using some simple techniques, I could bring out the death of a painting. Now, while I'm sure there are equivalent tools and other art programs, I'll be using the tools and photo shop, so it's gonna be far easier to follow along if you're using Photoshopped as well. Also, I've attached to pdf for you on this subject and as well stay tuned for the end of Part two , where you can then download a file of a ruby jewel I painted that also needs to be brought up with color and depth, just like the one we're about to start with Now. This optional exercise will let you be able to jump right in applying the methods I'm going to show you in this video. Feel free to watch the video again as you go ahead and tackle the exercise to better help you remember any important points as you go. If you'd rather use these techniques on a digital pain you did before that you think needs to be brought up. By all means. Do so with that instead. And share. I would recommend you showed before and after. If you do so, though. Anyways, without further ado, here is part one of the ocean's heart. Jewell. - That uh huh way, you know. 7. Color & Depth Part 2: okay? - Uh , no. Okay, - okay . 8. Color & Depth Exercise: Okay. Hi, everybody. I hope that these videos and pdf will be and have been helpful to you as you learn and improve in these ways of adding depth to a painting. There was a lot to cover in these videos, and if you got lost at any point, review them, as you need to refer back to the Pdf is also there to help you out. It is a simple but complex topic. Painting an object like this is a great way to practice these principles. And remember, if you are struggling, know that even in that you are improving by practicing. Speaking of practicing, let's go to our exercise. And here it iss a different Jule I painted up to about the same level as where we started in the oceans. Heart jewel videos. I've made this file and the layers available for you to download with the gold, silver jewels and bronze slash antique silver separated onto their own layers. Now this is a photo shop document, but it's usually able to be opened in other art programs, if not have attached to PNG as well. Though in this case the layers will not be separated. I wanted to make this available to you as an exercise. So you have something you can immediately apply the techniques taught in the oceans. Heart jewel Demo. With this as your resource, use it to bring out the death, light, shadow and color, as I did in the video. It also has some polishing that it could use so in your brush work. If you want to make this a diamond in the rough, go ahead and do so. And, as I said in the introduction of Part one a couple videos ago, if you have a piece of your own art at this level, or want to do something of your own from scratch, by all means, do that instead. The point is to get you familiar with your digital painting. Resource is at a higher level. After you're done, feel free to share the exercise. And again, if it is your own original piece, you'd like to practice these techniques on. Be sure to post your before and after so we can get a good look at how the peace has improved. I really hope this has been helpful to you in pushing past that middle stage in painting. Our next video will go into painting a marble bust from reference start to finish 9. Marble Bust Foundation Part 1: Okay. Welcome to the final part of making your artpop in photo shop. In these next videos, I'm going to do a painting of a marble bust from reference start to finish. I'm excited to share this part with you because it builds on all that was taught in this class. At the end of this lesson, I'm going to ask you to do the final assignment which were involved. Finding a marble bus photo of your own that has a good split of light and shadow and using it as a reference to pain your own marble bust. By referencing and painting something like this, you both get practice and a greater understanding of light and shadow and the subtleties that come with it. Even if you are fairly comfortable with light and shadow already, which you can then apply to any work you do, whether fictional or riel. Now I hope you enjoy the videos of the marble bust painting. Let's get to it. All right. So let's get started with the marble bust here. I'm starting with the background like it did in the oceans Heart Jewell painting. I'll usually begin with the background immediately. A start laying down the base and then the shadows. Doing it this way allows me to break it down simply and then build up in doing an effective painting. Always remember, general to specific you can clarify is you need like I'm doing here. But try and avoid too much detail. You can do that later. You can see I'm just laying down pain, but I'm also constantly paying attention to the light and shadow of my reference. This is all in a normal layer. - Doing a study like this helps you in your future work when you're observed from life or, to a degree, a photograph. You begin to subconsciously gain an understanding of how these forms come together, especially when you really look at what you're trying to paint and begin to see the subtlety of shadow, reflection, light and color. Not to mention you'll gain great practice as well. Now here's a cool trick that you can use to speed up the foundation stages of a painting, create a new layer and set it to multiply. After that selector. Grady in tool and set that to radio. You can see here I selected a color pick the color you need and remember that it's multiply , so it's going to be darker than the value selected and begin to lay down these radio grade ins. Right now, I'm laying down these Grady INTs in the shadow areas. After that, I clicked the clipping mass buttons shown bottom right and feeling completely with black, just like levels painting. This will hide the layer completely. I can then simply paint back in on that mask with white to bring out only the shadow areas I want. What this old does is automatically Grady any of those shadows I pain back in but gives me the control of painting back any areas of the radio Grady int I want. It's a very helpful technique and one that's also helpful in the beginning, and I'll be doing the same thing with an overlay layer for the lights. - Now this is where decide to clarify the light and shadow Seymour and clean it up. I'm building on top of each layer to bring out the realism and formas ago. I'm also carefully studying my reference every step of the way. Some years ago, I attended art school in one of the first classes I took was called Analysis of Form. It was the first time I ever tried rendering in light and shadow, and quickly my classmates as well as I were already drawing fairly realistically from simply applying the basics of what was taught the basics of light and shadow. Like the sphere example. It's a good practice to also consider shadows first and build up your light areas. Later here , I'm taking an overlay layer and varying up the colors a bit. I'll do this once in a while and start to build up the colors even before I begin focusing on it specifically. Okay, I'm doing a quick hyun saturation adjustment as it changed my mind about the background here. That's one of the great things about digital painting being able to make these big changes pretty easily. - So that's it for the foundation of this painting to quickly recap here. I started with the background in a base. Then I broke down a very rough lay down of shadows and some lights, referring to my reference. All the while afterwards, I used radio Grady INTs, hid them and paying him back in the bits of one to keep and finally I took all that and began to smooth out the roughness of my work and think more about the background. Now, in the next video, I'm going to go over taking this marble bus to finish where I'll use what I've built up and begin refinement and enhancement of my values and colors. See there. 10. Marble Bust To Finish Part 2: Okay, now we're going to tackle taking this to our finish. Much of this video here is going over my painting process with a normal layer or finding things as I go. I'll use the stage to get things looking better before I decide and add in layers for additional color. I'm still working in general here. You might have noticed that I raced out some of the bust at the beginning. I didn't actually erase it out. If you look here to the right, I create a clipping mask and painted in black of the edges to make it fade off into nothingness. Since it is a clipping mask, I can always paint back in with white to bring it back so I don't permanently lose anything . Here's an example. The marble study did a while back. More Wilken take light fairly flatly or with more speculative highlighting, depending on how much of a polish went into the cut. Since the marvels many times and off white, it will take on the color of the surroundings. I noticed that the bustem painting here is quite warm, almost red because the surroundings on painting a warm remember to consider your back room for painting your own marble bust. You see here that I'm beginning to paint some of those speculate highlights on the shoulder . Thes kind of highlights are extremely descriptive what you're painting, but you'll need to take care when you're applying them. If they're in the wrong area based on the like direction, it's going to make your painting look off. No, no. So now I'm committing myself to going in and getting those soft details and forms refined and sharpened. This is the last step in the painting. Before I go into adding more color variations, keep a close look at your reference. All the time is yet closer to the final sections of your painting. You usually surprise yourself on what you find that you might have missed notice. I'm using brushes with edges that aren't super soft. I'm kind of sculpting out my forms here, and a soft brush would leave it feeling I'm finished while I'm sculpting out the hair here . I'm using my reference, but I'm not following it. Specifically, I'm doing what looks right. Instead of letting myself be bogged down with getting into the details as artists, we're called to be imaginative. So don't limit yourself to copying exactly even in the case of doing a study from life or photograph like this. You, uh, just like before in the oceans. Heart Jewell Demo I'm using overlay toe added some color variety. When you study from life, you may notice just how much colors in something, and sometimes you can exaggerate it. Overlay is a great go to to Sprinkle in different colors, do you? Here's a little trick that has a very subtle impact, but it's one of used a lot. I create a new layer and fill it with a 50% gray, as you see, and then go to filter noise and add noise. After this, I'll pull this window. You see right here I access this at the menu panel than filter and then filter gallery. Take note of what if selected here if you want to try this technique out. Finally, I'll convert the layer toe overlay and lower the A pass city anywhere from three through 8% depending on how large my images. The reason I do this is because it helps suddenly blend everything together. It's hardly noticeable, but I find it helpful in moving to the next stage I'm about to do and that stage iss my final polish here. I'm just going back over and doing a final refinement with a normal layer. I also begin to add my final highlights here, and at last I'm finishing up here with a hard light layer for some final touch ups. - I'm doing a levels painting layer like I did in the last demo of the Jewell to really bring out some depth in the bus. Now, at this point, most of what I'm doing is the cherry on the top again now, like in the last Emam, adding in texture layers via multiply and screen to give this marble bust some final details. Then afterwards, I'll bring it all together with a multiply layer painting. It decides to give a sort of shadow frame. Uh, - and there we have it. The marble bust. This assignment will both teach you and improve you as a visual artist. This is because it will train your eye to see the forms, shapes, lights and color, as well as give you a much better understanding of just how much Photoshopped conduce the advantages of doing something like this is that we are much, much more ready to tackle more imaginative, fantasy inspired work. So before we end here, let's do a final recap. We began with the work from the last video. Then we took some time to begin to refine the piece, focusing on hiring out all the details and sharpness. Afterwards, we did a final polish on a normal layer, with some overlay and hard light layers thrown in along the way. And finally we went ahead and pushed the depth and color one more time using levels, painting ah, final hard light layer and some texture layers before marrying it with the background, using a multiply layer that kind of frame it altogether. Congratulations on completing your watch through of the marble bust videos. This entire course was designed to get you up ready and raring to go towards your best work . Before we end, though, let's go to the Assignment video and break down your own assignment 11. Assignment The Marble Bust: Okay. Welcome to the assignment, everyone. I hope you've gained a lot from this course. Now it's time to apply what you've learned To sharpen your skills. I want you to find an image of a statue bust in marble stone or other type of material similar that you're most interested in. Make sure it has good light and shadow and that the photo isn't too small. If it's too small, it'll be blurry and pixelated, making out hard to catch nuances. Inform feel free to trace the photo and then start painting. Tracing the photo is fine in this case because we're doing a painting study, not making a copy of a photos proportions. If you'd like to do it that way, that's fine as well. Just make sure you get old those proportions, right? So your digital painting doesn't suffer from a mistake and accuracy. Using the tools and techniques from the videos to help you long paint from the reference you've gathered for this assignment will improve your eye and knowledge of light and form as well as color and depth. If you did the jewel exercise, you'll have a good idea and Heiken take the bus to finish. Once you get to the halfway point, feel free to watch the videos as you need to get comfortable with the steps it takes to build up this kind of painting. All that said, I hope you gain as much from this as you do any other part of this course. This kind of foundational work will develop your chops as an artist in more ways than one, since it's so foundational in nature. After you're done with your Simon, share your project. What you'll be able to achieve from your work here will apply to all types of digital paintings, and we'll lift you off into digital art that's better and better. 12. Recap: Congratulations on finishing the digital painting. Siri's Making Your Art Pop and Photoshopped. This class was designed to help you break free of the lifeless and dull paintings that we can all run into and teacher techniques on how to give your illustrations and paintings more depth and punch in it. We learned how to think about applying our paint in colors where we thought about our edges , as well as how our colors can influence the subjects of our paintings. How to approach a creative way of sketching, where we looked at the process of creating a character portrait from imagination and how we can adjust and change things to get them. How we want Photoshopped Ah, great way to both conceptualize and create lead into a finished painting. How to push the depth and color of a digital painting where we focused on taking a basic painting that look flattened, lifeless and brought it life through our light shadow color and the techniques available to us and photo shop. And finally we approached how to do a complete digital painting from start to finish, applying everything we learned up until this point to complete a marble bust using reference as a guide to lead us through so that we can better focus on the methods, tips and techniques taught in this course with these techniques in basic principles of digital painting way become better digital artists. I hope this reveals just how powerful Photoshopped is as a tool in your arsenal to make paintings that pop. Many are programs have similar features to this. So I encourage you to branch out and try new things developing as an artist process. And we only ever get better even in the lows. As long as we keep moving forward. Don't quit. Don't give up. Keep on going. Take what you need from this course and apply them how you want Experiment. Try new things because this course covers on Lee a piece of the many different ways we can create art digitally. Oh, and remember to share your work from this class so that the community can see your progress and improvement. So I hope you've gained as much as you can from this course Recap as you need. If you're having trouble remembering all the details, remember, pdf's are there to help you out as well. Thank you for taking this course. I'm Shung Guzman, and this has been the digital painting Siri's Making Your Art pop in photo shop.