Digital Portrait Painting : Tips and tricks

1. Introduction: digital painting is something I've been passionate about these past few years, is it's something I've dedicated a lot of my time to getting better at high finance. Max and Oven, animated editor by day and a digital portrait painter by nights. If you're like me and you love sketching and painting. But sometimes you feel like you're artist at a plateau and you're just not improving, then I think this cost is for you. This class is aimed at beginner and intermediate level artists who are looking to improve the art on the portrait skills. All you'll need is a digital drawing tablet from the shop and some enthusiasm. By the end of this class, you would have learned my talk shading and painting techniques, how to take advantage of certain British up tools and how to improve your overall workflow . To complete this cost, you'll have to submit your cost project. Your class project is the culmination of all the tips and tricks I've taught you and the ones that you found to be most helpful. You'll be using a reference as a guy, and your final digital painting doesn't have to be an exact replica of your reference to take some creative license with us. I roll. This cost is supposed to be fun. So if you have any questions or concerns, feel free to reject. And lastly, thank you for taking on this video. And I heard to see my cost. Thanks. Bye. 2. Using a Reference Correctly! & Using Shapes and Silhouettes: Hi, guys. It's Max. And welcome to your first video in my class today we're gonna be looking at using a reference correctly and using shapes and silhouettes in your drawing toe. Help improve your sketches. So if you could get Photoshopped file, what you'll find is I did so the background is a photo I took and then I just born and two photo shop, and I sketched on top of it. This is just a fun little technique I like to do every now again, um, you can see I've done this drawing off Nicholas scratch from the chilling adventures of Sabrina. Yes, I'm fangirl. Eso what I like to do when I'm first, it's I have just sketched this out now, and I feel like there's just some similarities that I'm not really getting. What I like to do is something I call Matt lines, and that's basically you just take like, Quentin intense color. And what you do is you just kind of map out with the eyes were gonna go well, the noise is gonna go middle of the mouth in the head on the top of the Hayman. And then from there you can kind of just break down the face into very basic shapes. You can see he's got quite a triangular jawline and then quit May square him on. I use this technique because I think it just helped you kind of see where you're going wrong. Um, I think that use is also a great point of reference because you can kind of total that angle. It's act. You can see it's a in line with his eyebrows. I just think by breaking down the face into mathematical thirds, you're able to kind of balance out the proportions correctly in your sketch so you can see if we try to maps us Now you've got the eyes middle of the night is in my mouth and on you can see I did d a little bit of a square. I think, actually, the jaw could be shock and of its if you ask me and you can see top of the is in line with his eyebrows and I roll. This just helps you kind of simplify your sketch, make it a little bit easier to see where you're going wrong, where where you going right in this case? And that's just one technique I used another technique. IEA's is. If you go over to this file is ill. Sometimes I just feel like drawing in real life is easier than photo shop, especially if it was starting out. It's very weird getting used to the whole looking at your screen while drawing on your drawing tablet. So what I'll do is our scan, a sketch that I did in my sketchbook into a Photoshopped file so you can see after I put it on a J pig layer crapola because I've enlarged it. But you can see it's a lot more organic. You can see my shading and everything. That's another techniques I like to use. And then also, even if just a quick sketch, you don't have to redo those mines in photo shop. Um, another thing I wanted to track to you guys about is using silhouettes in your sketch. So what I like to do is we've spoken about map lines. Now we can talk about shapes, So what I like to dio is also kind of just break down the primary shapes you can see for the nose Weaken dio triangle when the tip is trying off the nose. We've got quite old and oval shaped irons. You see triangular face, and then I quite like this. Block it off. It's on another layer I'll just pointed out and simplify the shapes down into something that resembles the reference for my map lines that I've done speaking to quite a pointy face. We can even point if I it a bit more. That's not a word. But you know what I mean. You can see from her draw line his shoulders start, then over there, so you slowly start. Just build your shape. If we turn, I'll schedule. You can see it a bit better. She can kind of start coming in with Scylla. Weight of your shape. This is helpful if you're kind of doing something from your mind's eye and not really a reference, but I still think this is a very good technique. If you're ever struggling to get your line work down or you sketches and coming out as well as you'd like, I think this is quite a nice simplification. You can even stop building in Hey see appear una vicious, very rough. Just a technique to try. If you're ever feeling stuck. Got it. Bangs just can build like shape, even just to help with your offline. You just feel like you're not. Your face might be fine, but you outline is just struggling. Then you can always come in with you're shapes He feels so in conned. Personally, I prefer the map line technique, but you can even double up and use them both at the same time. So what we'll do is I left out the face. So we've got our basic outline. You can see where here start is kind of weird. Draw close. You do that most of the time. These are quite equidistant apart. And then from here, you can kind of sleeve where eyes are. That's when the top of the mine goes. And I encourage you to try this out. I know we tend to get quite stuck into your own waves. Kitching. What? I think it was good to try something new. You never know. You might like it. And that is it on my class for using a reference correctly and using shapes. Answer to it and you drawing if he enjoyed it. And us, he in the next one. Thanks. Bye. 3. Top Tools To Use in Photoshop: Hey, guys, what's up? Welcome back to the dear form in this video, we're going to learn ing financial tools that can help improve your foot sketch. Now, one of my favorite tools sneezes to use is the last. So to be here and what we can dio take this we can move around how everyone's you can skip bigger, make it smaller even like tilt. It's if we wanted to come out of personality Do you think she looks too crazy? Too mad you could Pete into the eye cause another tool that we can use is the walk to And what we could do with that is you control. Come on, T protect on that area and walk will just kind of Within this bombing box, you can pretty much all toe anything you've drawn to your desired shape that you want Chris into in complete control de to de select on. You've got a big noise If he wanted that or you could just control C to m j everything that content. You know, if your seven planned So those are two tools already another tool. I quite like that. You'll have to sit yourselves. Sadly, is the flipping your canvas horizontally to This is a shortcut I created with my own personal hockey. You can do it by just going Teoh window of I think it's hot keys or modify keys, and you can just create your own action to flip your access horizontally or to do it the manual way you can, pretty much as control T right click and cars on top. But my short cut is just if two other find me a lot quicker because you can see certain irregularities in your sketch that you would always see a long time just like a big canvas . You can see if something doesn't look right, and it cottages helps you to rule. Refine your sketch. You can see already she's looking a little bit different. We're treating something. I shaped it, adds quantifies Nall a situation two eyes onto my last favorite final to suddenly you ever seen in my introduction. But sadly, it only works with a colored version off. Your sketch is eager to filter, and we acquitted. I select your layer. You didn't fool toe quit. If I Andi you would see it picks up your face. You can also This is a nice tool to use. If you don't want to use your lasso tool as well, so too will only select that area on move that area quite drastically, adjusting your shading and everything where this tool is quite perfect to just do subtle kind of movements and ships to the facial proportions to get it as close to a reference or your preference as you prefer. I think she still looks too angry or that he never a little smile. You can see there is some distortion on the cigarettes, so that is something to look at. But it's quite nice told. Just do some subtle adjustments and the reason why I like to shop so much. And this tool is because if you're working in a non destructive workload, you're never out of word of their return. There's always something you can do something you can adjust as almost Houston fuel is correctly. You can always adjust anything you like. Otherwise proportion wise face ones. There's always something you can do to change and make your sketch or portrait show you very profits. No, I say those on my top tools in foreign shocks, and I hope you guys drink that. Thank you for watching See in the next video by 4. Colour Planning: Hi, guys. It's Max in this video we're gonna be talking about Come planning on the techniques and I use when I'm just starting my painting phase and how I planned it out. So as you can see over here in my finish on file this where the painting I did a while ago , I did a very realistic kind of shading techniques and everything. But I thought this was such a perfect example off how I plan on my colors. Basically, what will happen is I'll make my lamp and I literally just use this tool called Qala Pick, too. It's a really great tool that Satti, if you don't have thought it probably will be able to use. It's in a bunch of other programs to him show. I just know in photo shop. It's called the Color Picker Tool. And because there's such a nice variation of color, I thought this would be a great example. So what I'll usually do is I'll select the shadow color so it was. But I should cover over the I'll select a mid turn color, maybe something they and then also picked a hot cup. Now this is just skin that we're looking at. But just by having those three turns, you can already see kind of how you're going to be shading on the colors that you will be using. And then, if you'd like, begin picks an accent, colors could be here for his is, and then even the room lights on either side of her. You can see it. Also effect is here. It's quite dull as it comes off, but we can always fix that later. Say that's not a problem. So this would be my first phase. And then I kind of explore that going into more secondary colors and tertiary colors and the kind of it helps to have a good understanding of your color theory here. So your complimentary or tertiary colors of primary colors which colors will complement each other well, which covers don't really go that well. So how does kind of expand on the colors are like over here until I get my nice color palette? And then it's just a case of using these colors in different places. So what I'll do is it's 10. Some of these lays. What will happen is it's too cold. Hey, allow the background. Just get to the meat looks actually terrifying at the moment. What? So I'll start out with my base of time. They're now add my shadows and maybe even starts and blending from there at the highlights . Keep on going. Keep on trading. You can see how added dark areas on the separate layer. I'll start bringing in that golden light. This is a nondestructive workflow where I literally just put everything on different layers because I take Teoh, try and get rid off that same making steak on this land. I wanna actually get rid of it. I don't want to get rid of that shading underneath. I just want to get rid of that light. So it's kind of nice to build up your layers like that, and that's the way that I work. Um, so if you ever see my project policies, Kuala lays. But it makes it easy when I want to remove details at details you can see for the lips. What I'll do is at the base. Start adding shading highlights striations on the lips. Uh, you can see I even have a layer called pause. No wonder. Usually very, very slight. There's something going on See if you can turn the eyes on But you're with my color planning attentions. Put every single color I'm incorporating on a different layer. I find it really helps me. Another thing Teoh think about as you're starting is what color your background is gonna be because that's obviously gonna pick the bounce lights on the lighting and highlights of face. So when I usually do is I'll start a war with just a plane color that I like. This can also be a color pick and then you'll see just around the head, almost haloed. There's a writer cover and then I'll incorporate that on. That just helps me kind of fit him into the scene. Latest. I just really like that. Uh, let's see the problem with all these layers, literally. You get two point. We have so much now that you're trying to find something and you've got a scroll through all of them. But that's like the only downside. And that's mean it for my cars on color. Planning on the kind of things I think about as I go into this phase of my painting. Have you guys enjoyed it? And I'll catch you on the next one. Thank you. Bye. 5. Shading & Painting Techniques: Hi guys. It's Max here. And in this video we're gonna be talking about painting and shading tips and tricks and the techniques that I use. Now this is the area that I'm most love. I cannot tell you how happy I get. I successfully shaded painting and it's looking great moment. That's just the best in the world for me. And it took me a long time to actually develop these sharing techniques and to learn about these techniques because a lot of time you just end up using a soft brush and you don't get that definition that a lot of other artists given the work. So in this video, we're gonna be talking some of those techniques using different brushes. I'm gonna show you some of my favorites, one of them being the soft brown pressure brush. Now, with this brush, this is kind of what we will gravitate to because it's the easiest to start off with. Another times alternate on my pain, precious in sensitivity, letting up here on my capacities institute e appear that just kind of hopes with your tablet, depending on night. How light how hard press you can see. It's quite a peek over here and then it's quite soft and not as intensive past here. So that's what those buttons health go up there. And now with this off brush, I love this. Take me a while longer and I actually a door. You probably lives. You preview off it in my interview, but with the soft brush along times, you don't get that detail that you want. So what I do is I use this technique way just called outside teaches that you want to kind of hearts. So let's ladies bags. You don't know who this lady is. You should really watch the Chilean ventures off. Sabrina, I absolutely adored that. So I made a fact or piece of her. But not very much with this is about so you can see where incorporating on lasso tool over here. And then I'm just come painting within that market that mocked area and you can see if you just decide nicked it looks ready. It looks actually paint. But what you do is with this fresh, you can kind of soften up all the bits that you don't want to be so hard. You can see it here just starting it up, not making it so harsh, but you're still kind of getting that extra little detail. Teoh Wick, I think also a bitter It's uncle to be on the nose. We all love that nice pop pilot, kind of just to make that area stick the high night on the highest points of your face new contest. Do that. You could see it really just hopes. Sculpt the nice. Really, You can change. You can leave it if you aren't. There's a shading spots. Are you really blames at once? Shape that out smashes one shading technique. You could do the inverse, which is pretty much just get rid of that. The invest would be to use the hot drama Pressure Bush, which is quite a difficult brush to work with. As you could see, it's very harsh. It's quite difficult to blend teach for a long time agency of a day we do blended eventually. Us. It's no no variation capacity. So this brush person he took me a while to kind of Mawston. You can see up here. It would be perfect because only pretty much doing is called me up lines. But it works pretty well, just need to get over there. You hear a lot of people would do is for your razor brush. Happier evasion, Raisa, sit to suffer on pressure brush, and then you can contact your capacity appear and you can kind of let's just make this phone. But if she did that, it's really blended out to your previous limits and you can't see it have colonized results . Only thing is, if you're starting off straight off the bat and drawing the color bays, it's gonna be quite hard to raise all the work you've done. It's obviously just starting out with that soft brush technique and seeing how you go from there in terms of blending. Another thing I would suggest is not only looking at the General Brushes and Photoshopped, I would suggest downloading a bunch of packs. What I do is a lot of artists that I follow will release their brush packs on it, patri on or just on their instagram. They'll say where it is, and I'll been find the impacts on down with them on. Some of these brushes are after beautiful um, the hidden gems. How do you say so? They're hard to find. But once you find it like, you could just get you most beautiful results. And I think also the fun covering when you mix in different kinds of colors. And that's how you get really last variation in shape so you can even just see they already . This brush is quite hot, but loose varies enough capacity to be different from the hard rock brush. This is one of my favorite brushes. It's from the lowest H pack. Um, I'll try Blinker Instru back account below for you guys to check out of work. But she's one of my favorite artists. And then I recently found another person absolutely loving. It is, I think, it's the hard ground. It's also a hard round. I really like the hard round brushes because I just feel like you could get a reading nice , sculptured kind of texture on your paintings. It's not one thing I found if you used the soft of pressure. Brush too much is that you tend to get part of muddy, cloudy, almost context to your paintings and doesn't look like as sculpture. But that's just my preference. You could quite like that other brush, a soft brush on rather enjoy it. I think it's the least intimidating brush on the brushes. When I started, I gravitated towards Um, you know, I think a lot of time it's just being around. Cohen express that enough. It's experimenting. It's playing around its finding things that you enjoy just because other people recommend it. Doesn't that you're going to like it or that it's gonna work for you. And I think that was one of the hardest lessons I had to know when I first started. You watch with these other digital artists, if you want to be exactly like, use their exact brushes. But a lot of the time was not the case. You've got a your own personal preferences of your own kind of style, and that's when you truly be happy with work. As an artist, you realize, you know it doesn't have to be exactly the same. That someone else is to be successful. And that's one of the reasons why I encourage your refers to being exactly put your mark on it. If you don't use the exact colors, use bright comets. So yeah, gente, even instead of a pink or red, it's all about playing and experimenting. And that's it. Cool, You six. I hope you do. It's class on us. UNIX one. Thanks, I 6. Photoshop Filters : what are they good for?: Hi, guys. It's next and we're video seven today, which is discussing Photoshopped filters. Now let's say you shaded your painting beautifully. You're happy with it. But now what's next? Well, what I'd suggest is getting around with filters. Now there's cancer by daunting, but I found it to be one of the most fun things. It must be funnest thing, Michelle, and it also helps when you're not entirely happy with your colors. But what do you do? You can't just re shade everything that you've spent hours on. So what I like to do is using adjustment players. You could use it over here. This is great for working non destructively. Um, let's say this is my painting and our watches think she's looking to dealt. I don't like how careen her skin turn is coming across. What we can do is using color balance. You can change it from shadows to today's to Heinlein's, you can actually adjust the rule. So, like I said, they're in the ads and like the way she was too green. Let's maker, but peachy cool tone, a warm turn, quite like the way the world looks. We've got to make a bit younger blue like the you can also change highlights. You can see if you can to figure more detail highlights. I think this is great. If you are working in concert dot and you want to kind of push your shading and you are to level, that's gonna be fantastical list. The great thing about these is just to them. You could see heavy handed, a sudden little difference that's trying pushing a little bit more before our vibrance got curves. Playing around with all of these is going to give you certainly different results. But I'm sure a few of my favorites I actually love liberals. It's quite scary looking at this little graphic here, but by playing with it enough, you'll see how powerful it is. So with levels, a lot of times you're working with contrast so you could eat. The doctor knew shadows lighting up your shadows, a rule. So what we're gonna do here is just I just as you can see, you are adjusting the shadows over here to give it more contrast. You look and every here we're just kind of showing the affected highlighted areas. I quite like this kind of a glow. We look one thing to avoid assist. You can start seeing the banding off your shading and the Grady INTs of your trading if you do it too intense, I shouldn't see over there. But I think we're sore eyes, at least for me. I don't mind. That looks so much so you can see over here. Really. It's made such a huge difference, and it's not only limited to RGB levels, it's limited. You can change it to read you. Jeff Green Internship Blue. Um, there's also so many other filters that can affect so many different colors as we saw the color balance and color selection within that filter. So with levels, RGB typically stands for red, green and blue on. If you take your raid here by getting rid of some of the raid, you're going to show more of the green on the opposite. Into the spectrum. You can add more ID to your overall I'm layer. Let's see if we go Teoh the green. Here you've gods. You can add more pink. Get rid of the green at more green. Um, listen, I'm quite happy over the blue. You can have it all blue, so she's not too pink. I think of there. I'm quite happy with that. Actually, you can see overall, just by incorporating these two kind of filters we've already completely changed. What? My original color work. Waas. So you're never limited inverter shop? You're always able to change things up, which I really enjoy. Um, I was trying than the one hue and saturation is quite a fun one. You can either make something more saturated or you can make everything black and white. If you want to go for that kind of a look, too, that's quite cool. You can change your overall Hughes kind of if you're going. I know we were more peachy at one point. If we want to make him all kind of Caucasian at about more yellow undertones, your likeness and your darkness can come into play. Anything is. This is going to get rid of your contrast that you've already set up. So that's just something to keep in mind. But overall, like I say, I think it's so much fun to just sit around and play with some of these. Um, you can get some really great results. I mean, selective colors another one that I quite enjoy. You can literally select, for example, your reds and just using these controls. You can get rid of that color completely. So if we quite like the reason we like that very saturated Farid Khan Alec, we can just play with the sliders and get the overall result that we want. You can completely get rid of your yellows. Add more yellows. Dark red values were going to come up in this old boxes being black, you can completely just player on the same on that is it. Thank you for joining me on this video. I'll catch you on the next one by. 7. Rendering Your Final Painting: Hi, guys. It's Max. Welcome to Video eight. In this video today, we are looking at rendering your final digital painting. So a lot of times, what happens is if you look over into my work, follow me here is that you'll be happy with your image. Would you just feel like something is missing? And it could just be a case of, for example, you wanna add more texture or more grittiness to the image to make it more appealing, or you want to add a bit of an extra something to despise up your image. That's what this video is a little about. So let's dive right in. What I've done to this image is actually added my own little scattering of freckles. It's very, very slice, but I just really liked that. Um, what I usually do as well is depending on the background, I'll add kind of some lighting to it. I do quite a lot of backlighting, so if you can see over here, you can see this some like off this bright yellow light coming through, which I really enjoy it. Uh, let's see. You can see over here have kind of made a face of its smaller as well. I've made the overall image of its smaller Andi. One thing I'd love to suggest is playing with your color drop colored dodge tool on what happens with your color dodge tool is basically so let's turn off all these layers as it's a pity. But color dodge will only work when all your layers are combined into one. So just do that. I've done this over here, literally, just copied all my layers and then merge them on the separate just that everything is combined into one. And then you go up here to this tool right click. You can change it over here, but your dodge to basically you can place your exposure and you can play it with your shadows. Mid tones and highlights could even change your brush if you want, but this tool exists solely for the purpose of enhancing certain areas so you can see over here. We're currently using the Dodge Tool, and that's gonna make things lighter. It's just for this. Let's get out of high nuts. You can see over here. It's already like doing something really, really nice. It's kind of just accentuating. There's a lighter areas. Like I say, you can change your brush. I'm gonna change mind to my favorite hard ground, and that's just lower that exposure. You can add pin pressure. There we go. Get rid of that on Little River highlights over there. I think this is a really fun part of the process because you literally just kind of highlighting certain areas that you worked really hard on, and that's already proud of. And I think it's really fun to kind of see it all come together. Let's change those to a sufferer on pressure brush. I feel it works best with this kind of tool. Just because we don't touch our shading at this point, we literally just wants a kind of something very slice. Let's see, Protect that. Put my airbrush sitting on two gun. Just smooth. Everything else you can see your pen Pressure really comes into play over here, but this is just really nice, and it works very well in the hair. It would show up. It's trash, other is. Alternatively, there's the burn tool as well, which makes everything darker so we can kind of stocking up those cheek bones, maybe dark and by the eyes or anything is this is going to kind of get rid of some of your colors, whereas the Dodge Tool is gonna enhance those colors. The burn tool kind of gets rid of those colors. I just say that's something to watch out when you use, you're painting. It was kind of like just a really fun way Hunter will kind of Obviously this is like the crazy side of the spectrum. Uh, Michelle, it's just a really nice tool to kind of play around with. The shortcut for it is Oh, if you're wondering, I used quite a lot of short cats. I just find it speeds up, Maribel, workflow, dark in the eyes over there. This is quite a popular airbrushing tool, So a lot of people use this in editorial photos and such, and I don't see reason why you can't use it on your in paintings. Another little tip, I figured out is kind of drawing pause over your digital painting, I notice from an artist called Charlie Bowater. She is also one of my favorite artist. She is absolutely amazing, Um, and what she'll do is she'll take. It's similar to freckles in a way, but you're kind of replicating skin's texture. So what you're gonna do is you just gonna grab it's all about. You have to have a basic understanding off the way the skin kind of comes together, and you'll learn that as you get used to shading but with pause, Usually your paws are largest on your nose and your T zone, whereas towards the edge of your face they're going to become a little bit more fine. So what we're gonna do is you can see every here it comes up quite nicely on the nose. Just give a bit of not necessarily blackheads. But you know, no one is that perfect, and is that you just, like, clear your own? It adds, just the sel itis, bit of realism, if that's what you're going for in your work, which I really quite like. And your pin pressure sensitivity will also play a part and how well this comes up kind of blended out. But I just really quite like it, and I think every does you can see along the nose on the bridge had really does just at the nice YSL touch and I think, especially when you're working with Portrayed, says so much little details you could add. That's really just gonna in haunt your work and help it stand out for future. On that is my tips and tricks for this video. I hope you guys enjoyed it and I'll catch the next one by. 8. Your Class Project: Hey, guys, welcome to be the year nine. Today we're gonna be talking in a bit more detail about you cross project that needs to be submitted and uploaded. Do you have come officially completed this course, Basically, your class project is a culmination of all the tips and tricks I told you so Every tip or trick that you found helpful that you feel has helped benefit your art. I would like you to incorporate in making your final picture or painting. So basically, I just thought I'd true you a little. But of all trick, I did a while ago where I straight up copied my reference. Nothing wrong with that. Like I've said throughout this video, I do feel that sometimes the best paintings you're ever gonna make are not going to be an exact replica of your reference. And that's fine too. But for this ton purpose, I've stuck quite true to my reference. And also, I think it will help showcase for your final, um, cause project it will help get the point across is well, so basically, for your class project, you're gonna take an image as you reference and you're going to use all the tips and tricks I've taught you to make a final painting. So what we're gonna do is using a reference image. You're gonna come up with a rough sketch if you want. You can use the silhouette in the shape drink. I talk to you for this one. I just used a rough sketch, and from there I kind of mapped out my guides and that helped me kind of get my proportions correct. Where was most happy with them from there. You're going to start planning in your Cullen's so you can see I've got money kind of over there. Oh, turn all this other stuff on. You're gonna see you going to start with your base. Let's just take my reference. I'm putting away to the top so he can stay in way up so he could just sit there basically from your base, you're gonna utilize some shading techniques I've mentioned and spoken through to kind of just get your blends right, and slowly but surely you just keep going until you come up with your final painting. Basically, your final painting is whatever you wanted to be. I don't put limitations on it because art is so flexible. Um, also, even if this costs didn't necessarily teach you anything new, I would still like to see your kind of odd style. And maybe we can learn things together. If there's anything you'd like to give me feedback on, I'm quite open to it. This cost project is mostly just a way for me to see what kind of a level you guys on. If this has benefited you at all. Um, I just really wanna see kind of what you guys come up with on the project. It's been kind of planting. I don't want us to You seem like obligatory homework or anything. I think that if you're on this autistic journey off wanting to improve your art, then this should just be a gradual kind of. This should just be a gradual end to a great cause. I hope that that will make sense. I'm very open, Teoh. Also, any questions that you may have, or any feedback of yours that you feel could help improve this course. Um and yeah, I hope to see you artwork soon. There is a more detailed Afghan and structure in this class is outline which I will reference below, and I hope to see your picture soon. Also, I have mentioned that if you don't have first off or a drawing tablet and you cannot participate in the digital drawing off your painting, I still think that you can incorporate some of these tips and tricks into everyday life. And if you're more comfortable drawing that way and painting that way, being watercolors or oils or anything but you feel like the shapes technique in their taught you really helped you. I'd love to see that. And please just take a picture of your artwork on uploaded as a J pig or one of us to see that for all of us to feed back on. And thank you very much for paying attention to this video. You've got one more video lived, which is just the conclusion to this course. And then we're all done. Thank you for being on this journey with me on I see the last video. Thanks. Bye. 9. Conclusion: Hi, guys. Welcome to you lost video in this class. How exciting. Thank you so much for being on this journey with me. I just wanted to kind of conclude this course and say thank you for watching on being on this journey with me. Um, I'm very excited to see your cost project. Please don't forget to upload it or send me any work in progress. Shots very clouded to see what you guys come up with. I feel art is so versatile and so open. I didn't want toe put any restrictions on your class project. And I think that's why I'm quite vague in the description because I want everything to come from you. I want to see your creative style come through your I want Teoh kind of help mold your style and your start painting style of sketching. I think that's the best part about art. Is just carving out your own little niche in this art world on instagram or wherever? Platform of choices. I'm so excited. Tiu have been given this opportunity by skill ship Onda as this is my first cost. I really look forward to any feedback that you as a student have to give me so that I can become better as well. I think that we're all eternally learning as we go. So I'm very grateful. Teoh, get any feedback or critique from you guys as well. And again thank you for joining me on this course. I hope to see you again soon. Maybe in another video where I could go a bit more in depth on a bit more kind of detailed info to shop only as opposed to trying to cater for some other mediums of art as well. Um and yeah, thank you very much for being on this journey with me. I have food to any feedback you have and support across projects. Don't forget to upload them to the class gallery on. Do I look forward to seeing it all the best, but