From Sketch to Finish in Photoshop: 6 Steps To Better Environment Painting | Patrick Horan | Skillshare
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From Sketch to Finish in Photoshop: 6 Steps To Better Environment Painting

teacher avatar Patrick Horan, Designer for Animation

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction

      1:39

    • 2.

      Colour Key

      3:34

    • 3.

      Masking & Color Blocking Part 1

      13:17

    • 4.

      Masking & Color Blocking Part 2

      9:00

    • 5.

      Texturing

      10:20

    • 6.

      Shadow

      5:47

    • 7.

      Detail

      7:26

    • 8.

      Lighting Part 1

      18:30

    • 9.

      Lighting Part 2

      13:21

    • 10.

      Lighting Part 3

      7:21

    • 11.

      Finishing Touches

      4:06

    • 12.

      Final Thoughts

      0:39

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About This Class

This class will show you how to take an idea, and break it down into easy steps to help you approach complex paintings. This process is what I use when working professionally, and will give you the skills to tackle any idea.

We'll go from an initial sketch and color key, to a finished rendered painting. Along the way I'll go into detail about what I'm thinking and why I make the choices I do. 

I’m self taught, so I wanted to take I’ve learned working in the industry, to make a class that I would have wanted when I started over 6 years ago. 

This class is geared towards people with a basic level of Photoshop knowledge, but anyone from beginner to experienced will be able to learn something.

If you have any question's just let me know! I'm here to help. 

Meet Your Teacher

Teacher Profile Image

Patrick Horan

Designer for Animation

Teacher

Hey, I'm Patrick,

 

I'm a digital artist working in the animation industry. I started my career as an animator after attending a 3D generalist course at the Centre For Art's and Technology in Halifax. During this time I started teaching myself digital painting and after a few years got my first job as a designer. It's been over 6 year's now working on various projects including Film, TV Animation and Commercials. 

Being primarily self thought, I struggled a lot in the beginning with self doubt and figuring out Photoshop. I want to share my experiences to help other's on their journey by creating classes that would have helped me when I started.

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Level: Intermediate

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Transcripts

1. Introduction: I am Patrick or in a visual development artist and designer in the animation industry, originally with school for three generalists and actually started my career as an animator . From there, I taught myself had a digital paint, and I've been working as a designer now for the last six years. Some clients have worked for in the past include D HX media, Netflix, DreamWorks and Ice Animations, as well as working as a freelance artist. What this course is about is taking my workflow process from an initial sketch all the way to a finish rendered painting something I struggle with a lot. Being a self taught artist is just trying to find a reliable process that I can apply to any painting, whether it's no background or character or vehicle. And there's a lot of trial and error in there, and at this point I feel like I've narrowed it down to a pretty reliable approach. And so, with this class and the class project going to share that approach, a few guys and we're gonna take sketch whether one of the ones I provided or your own, and go through these steps on show you can take something that looks complex or to detailed or whatever and break it down into something more manageable and show you give you the confidence that you can approach your paintings with the with the same skills and make something something nice. So this is my first time making a skill share class or any class, actually. So I'm looking forward to hopefully interacting with some of you guys and seeing some of these projects. So hopefully see you guys there. Thanks. 2. Colour Key: this section. We're going quickly. Go over color keys with color keys. A few things to keep in mind is keep it loose. Experiment. So don't be afraid, Teoh. You know, do whatever makes some crazy looking stuff. Uh, that's not This isn't your final image. So make all the mistakes you can now and try to solve all the problems you can know with with not, you know, with figuring colors for your with lighting tried different lighting solution so that maybe it's evening and maybe it's nighttime whenever you want, so it works something else. Something, ourselves with me is is staying zoomed out when I'm working on it. So if you zoom in, you meet more. You're more like tunnel vision. You're gonna be focused in the smaller areas or trying to add in details. So keep that canvas, keep it zoomed. Oh, so you can focus on the overall image. And when you're adding in colors and shapes, you can see how they have the rest of the peace. Don't don't get too stressed out about how it looks. Just just try to get a feeling in there something else. I don't worry about layers, too much, so I'm not worried about how things are layering, keeping things organized, keeping things separate. I just sort of paint emerged things as I'm working and I'm just focusing more on Just trying to get a training accident Looks decent. So I can take that and make my final painting out of it or use it as a reference. Also, if you can have all your have all your big failures in this if you can't like, really, um, make a make a bunch of crappy looking paintings and then you have them all over the way and then find hopefully find when that looks good, use that to reference in your in your final piece. It's basically taking out a lot of the guesswork that you have when you're creating your final image and not to say that when your color key is finished, we have to stand, like, stay to it like Oh my golly, ate a stick. This color key socks not gonna stick with this because this is my This is when I chose for my color kits, so you don't have to do that. You can use it as a reference you can use it 50% you can use it 75%. Maybe something happens when you're doing your final piece. And you like this color. He sucks. I'm just gonna paint it the way I want to. The biggest advantage I find with doing color cases at it. It makes it so that when I'm starting my final painting, uh, it's like, I'm not going in completely blind, and it gives me something a reference and look at it. It makes it seem a bit less daunting. I find when I look a sketch or drawing units just to lose drawing, it's like I look at that and if I'm gonna be painting it, that can be That's like, I don't want to paint that. I don't know what I'm gonna do with it. Is this gonna look it up like I put purple here? Is that working? Who knows? So when you have a color Kikkan reference that it kind of gives you a general idea of where you want ahead. But as the painting, it's more and more fine. You can kind of steer that whatever way you want. Okay, that wraps it up for color keys. No shown here. I just wanted to add in a few more color keys have done in the past just to help reinforce some of the ideas were talking about. Now, from here, we're going to move to the next step, which is actually the first step of the final painting. So I'll see you guys there. 3. Masking & Color Blocking Part 1: So in this section, we're going to go over. Mask it. So this is pretty much the first step. Once you have your line work done. Now, what we're doing with this is basically we're making, uh, making masks for each shape in the painting. Now, if you're not familiar with masks, basically what it is, you can make any shape you click. This button here turns into a mask. So a few ways you can do this. After you make each mask, you can fill them in with color right away. However, I'm going to keep them blank for now and do the color fill in in a separate step. For this, we're going to use the pen tool located here. No, the pen tool is sort of like the standard Photoshopped lasso tool, except for give you a little bit more control. So this is the overall shape of the 7 11 building. Once you have your shape and you're happy with it, just had control enter, create little marching ants line showing you your selection. From there, you come down and hit this button that creates your overall mask. Now, another way you can do this is Let's say you make your shape whatever here's shape, their shapes done. Control. Enter yearly. God, Jesus! Forget the whole other half of the building. Well, you can do is use any of these any of these lasso tools in here to add additional shapes into your selection. So the old shift you'll see little plus sign appear there. That means you're going to be adding three. Now I just have the square selected. You can shift at all that in, and I'm just hitting undo to bring it back to the baby shape. Here, let's use this one. The what is this bullet polygonal lasso tool? I was, I wonder because it creates perfectly straight lines. And Photoshopped I find when you do things FREEHAND picks up a lot of weird vibrations in your hands. So I prefer to use this tool. Then there, so that's been added to your selection, could also subtracting from your selection by holding halt So you hold halt. Little minus signs shows up, and will you have that selected? Create a new selection and it will subtract that shape a lot of your existing selection. You have no way you're also going to see me doing here is a lot of clip masking. And what that is is if you click option menu here, you'll see this clip mask. You click that and it sort of parents this layer underneath this one. Although physically it's on top, it means that it's restricted by whatever is going on in this layer. So I'll just show a quick example of that. So we ever read shit. That's right way have a less saturated red circle here. Okay, this is a little add on of something I noticed. I didn't fully explain. Now what this is is layer locking. So all this is is let's say, have this painted this shape. And now I wanted to change the color of it Normally. Think enough to go in and try toe, you know, paint right over top of it. All you do is you click. This button here shows up here at this little transparent padlock, and that locks everything you've painted on that layer. And so now you can paint over top of it very easily and change the color. So some things this is useful for is, let's say you do a pattern really nice pattern. You really happy with your pattern, but the color is a bit off. You want to change it, lock it, pick whatever color you want it to be. Paint back over. Talk. Now, If you want to change the shape, simply unlock it whatever you want and then re lock it, so that's layer locking. You'll see me using that throughout the video, and I suggest you guys use it to its very useful and keeps things organized and very clean looking. So all right, back to the video. No, if you clip mask underneath, said anything you do, whether huge brushstroke, ever anything you do clip that underneath. Now. Anything you do here will be restricted to this shape, and it's in there. If you break that clip mask, you'll see the overall painting you've done. But when it masked under their, it restricts it to whatever you've painted. They can add to that shape to if you need to change it and you can see that whatever is here, once it's clipped in, will also become visible. So what? That's useful fours. If you make three overall building shape, you can clip mask Aled. These sub shapes inside of it. So let's say you take the windows. I would say Take the windows, for example. Of the 7 11 let's say they're painted. Look, really go there. Now you clip something underneath it. That's what this does, is you can Now if you wanna put window, Frank, you can simply painting your window frame under holding shift to make these perfectly straight lines. And I have a window friend, and it also keeps it separate. So if you wanted to now paint something in behind the window frame, you do that so you can put maybe some shine marxer reflection or something on the window, and it gets all of its separate, and I find that really useful. I'm working just because a lot of times I don't know the colors I wanna go with. In the end, even though based off of a color key, I still like to change things around an experiment, and so this allows a lot of gives you a lot of control over that you want to get brown. Could be easily just paint that brown a texture line on it. This this whatever. So, for the time being, I mean I'm going to go in and fill in every one of these shapes create mass for all of them , and the next step will fill them in the color. So I'm just going to go in using the pen tool and start making some of these shapes. Now, by doing this, this is clip masking. If you hold ult, you can also bring things into clip masking an odor, foot basking. Know what this is doing is clipping this layer so that is contained within the shape. So what this is useful for is I have this bigger shape here. This signage on top of the top of the building. But I want it contained. Want to contain that Within this overall shape of it? I don't want to go to this border. That's what I can do is go in, create the shape and for the outside layers, you can just go like this. You don't have to follow the border, create the layer mask. Now you have this really big, weird shape going up. They have this really big shape as long as the edges of it within the overall shape. This one as long as there they are where that where you want them to be, Everything's fine. It's all of this area. Pierre won't matter because of the overall edge and boundary of this is restricted by this one. This may seem a bit odd at first, but the more you use it, the more you get used to it, and I find it a very efficient and effective way to work. Okay, something else that's beneficial from this is it keeps your edges clean so that at a later time you can paint over them to soften the moat. Something else will be doing at this time is naming the layers. This isn't specifically necessary, but it does help what you end up with 50 or even 100 layers, and you're trying to quickly find them to paint them the citizen necessarily necessary. But more layers you have, the easier it is to navigate them when you have even just simple, even a simple numbering or lettering in there, that is something you understand, and you can look at a glance and know where you are and where you're working for this window. I'm going to do the same thing. It's not. It won't be contained in the overall building shape since its own shape. On top of it, I don't need it to be contained within the borders, since it's well within them. We're going to do is take this window shape and I want to make the window frame shape going to clip this inside. Hold shift to my selection and they're now I have some dividers for that window contained within this window shape. - What now? Here. I want to put these air conditioners wherever they are on the roof behind the building shape. We don't have to worry about where their edge ends. If I put them on top, I would have to worry about them overlapping that top edge of the building by placing them behind. I eliminate that. That risk really risk, though, is it? No one said my building shaped completed than everything. Within that, Take all of this control G put it into a group. You name it 7 11 or building or whatever it happens to be 4. Masking & Color Blocking Part 2: from here, you start using the color key and filling in some of these shapes just to make sure I didn't miss anything. The brush amusing for this is a standard Photoshopped hard round brush. I like using this for feeling things in just because there's no texture. Photo shops, not trying to load anything while you're doing it. It's works very quickly, and all I'm trying to do is fill these shapes and just make sure everything's there. Didn't forget anything. So sometimes as you're doing this, you'll realize you missed something that I'm noticing here. I didn't do the top or the bottom of the window frame. Correct. That I'll have to do is go in, select my mask, create the shape by one. Make sure my brushes on a white weight color and then go in and paint the way to know what you're seeing happening happen. There is that now what you're seeing happen there as it fills in, even though I'm using a white brush because I'm painting on the stencil layer or the mask layer, and if you look at the actual painting layer, it's completely brown. It's already filled in with paint and all I'm doing by painting white, and there is revealing that paint. So show another quick example here. Paint the shape for this. It's looks like a ziff. I'm painting the brown color, but again, I'm just changing the mask, and it's revealing that color that's already happens to be there. There. With that, I have all the base shapes done for the main building of this painting looks pretty flat and kind of lame, but it gives you a good basis. I'm going to go ahead now and fill in the rest since painted. You can refine this as much as you'd like in the stage and go in and make his many masters You'd like no here. Making a shape for the tree we usually do with this is the free hand lasso tool. Just so gets a more organic shape. So I go in roughly, follow that sketch, and then what I'm going to do is hold all to subtract shapes. Just go in and start chopping out little small shape sort of here, which, once painted, would give the illusion of ah tree sort of a rough edge tree. You'll notice as you keep painting. You'll start covering up your drawing. What I usually do is duplicate that layer and put it on top is well, so way I can work above and below it. - So at this point, you should have everything filled in what's in your painting, you know, more detailed than this. If you'd like. By the time you finish your masking section, you don't have to have necessarily every single thing mast owed. But the painting should resemble pretty close your color key. Now this process of making shapes and adding new shapes and sub shapes will continue throughout the rest of the painting process. That's it for color blocking and masking. Now let's move on to texture. 5. Texturing: in this next section, we're going to go over text oring, usually the previous step of color blocking and the stepper combined. What? I'm doing an actual painting. But for this course, we're gonna keep them separated to keep it more simple and easy to follow. And so the way I would do that normally is when I do the previous step, I would use a textured brush. What? I'm laying in the base colors. So I kind of get both of these things happening at the same time. Now how I usually start this Not usually this is how I started. So the basic thing I follow when I started texting an environment is I sample the base color and I go slightly darker or slightly lighter than that color and lay in a big brush stroke over top of it. What this does is it breaks up that that solid, boring based shape that's there and make something a little bit more interesting, and I'll follow that rule through every object in the scene, and you can vary it up to it doesn't just have to be a darker color or a lighter color than that base color you can also go slightly cooler or slightly warmer. - Something else. I'm starting to think about it. This stage is the very basic forms blocking in the rudimentary the very basic shapes of things. So if it's a if it's the dumpster and it's just a solid green color, and now you're gonna want to add in darker, darker playing on one side or the other just to reinforce that shape. The brush amusing for this is just a standard Photoshopped texture brush. A friend of mine made it. I'll include that in the class here, so you can take that to use that for your own painting or your personal work. But really, there's no specific brush to use for this. You can use any texture brush. You can make your own brushes. You could even take photo textures if you want and lay those and there's really no rules. It's just whatever is working for you and whatever looks nice. - So that's it for the textures. Step again. I went pretty quick with this one. You guys are welcome to spend as much time as you'd like texture ring and go a bit more detailed united here, We'll see you guys in the next step 6. Shadow: So in this section, I'm going to go over a Amy inclusion or basic shadow pass of the environment. Now what these shadows are anything that's touching something else. Light can't quite get in to, Ah, loom in eight where it's touching, so you get a little bit of a shadow. You could test this yourself. Just put your hand on a table. Then you'll see how, as you put your hand close to the table, it gets a bit darker underneath, forming almost a line, but not quite a just a very soft shadow. Anyone who's familiar three D modeling or rendering will recognize the term immune inclusion. Post an image here showing what I mean, and basically what you can see is there's no real direction from the light. It's not as if there's a lamp on in the room or the sun shining into it. It's just it's just shadows on objects from reinforcing the form and shape of them. And so what that does is really gives sort of a grounded, realistic feeling to an environment, and adding that to your painting will make things feel like they're really in there that make it feel like they're really in there like there, close to each other. Touch it sounds weird, but touching each other like something's really sitting on the sidewalk. It's really sitting on the table now. Some general things that keep in mind while doing this is basically just one rule is proximity to other objects. So said objects, closeness to another object. If you have ah, trash can sitting on the sidewalk, we're going to get a bit of a Amy inclusion shatter on the base. If that trash can is on the sidewalk and against a wall, we're going to get a bit of a shadow on that wall as well. Now, if that trash cans floating in the air, if it's a foot off the ground, let's say you're still going to get that shadow underneath what's going to become softer and smaller, and the higher goes up, the smaller the shadow will get until eventually it disappears. Now you can include this shadow passed. Sometimes it's mixed in when I do a lighting passed on a painting, but I'm going to separate it for this just because it makes you only focus on one thing. So you're just going to be going in putting this contact shadows in, you know, the corner of a building based on the dumpster. Whatever you're going to be, adding those in and not think about anything else more. You separate the process, so the easier it is to Dio, instead of thinking about everything, have to do with lighting at once. If you break it down into five steps, it's much more easy to manage and keep track of and control your overall look and what you're going for now. For brushes, I'm using the photo shop standard round airbrush, soft airbrush and while like using that as you can do broad strokes with it and sort of get a really big soft shadow. And then you can just scale that brush down and get a tighter shadow in there. And they all blend together very nicely. And Amy inclusion Shadows in general, generally speaking, are soft shadows, so if you have a soft brush, you're going to be getting that look relatively easily. You can also use the texture brush, sometimes experiment, using the hard ground, brushing an interesting look with that and what you can also do with it. In the end is. Take that shadow layer and out of color to it are different types of blurs and get get a softer shadow like you would with the airbrush. But it's more tweet Kable. A few things to keep in mind when doing this is I keep. I usually keep the shadows to the sides and bottom of objects. I don't usually put any Abyan inclusion or contact shadows on the top of things. Something else to be careful with is if you're if you're doing on a building, if you have too many of these shadows, maybe on the edges or especially the top, it could start making your building field rounded. So keep in mind the geometry of the things you're painting, whether it's a cylinder or cube, basically cylinder to wear sphere. Keep that in mind when you're painting the shadows, so just a recap. The major thing to keep in mind with this is his proximity to other objects. So something close to something it's going to be casting a shadow on that or receiving a shadow or both. And if it's sitting on the ground, is going to be creating a little shadow there. So with the layering for this. I'm just creating a new layer clip, masking it into into its master layer, whether it's in the building or telephone pole or the dumpster and then setting it to multiply. The color I used for the brush for the actual paint is just a neutral Dre somewhere in the middle, not too dark, not to light. You don't want to go all the way to black, and you don't want to go too late. Somewhere in the middle is good. I can also play around colored shadows and this If you'd like, you could do a cool shadow or maybe a warm shadow. Let's see how that looks overall as you as instructed. This I think you're gonna feel for some images you could reference on. Google will help both. This is just type in overcast lighting and you'll see you'll see what I'm talking about. There, another couple of resources that would help with this that really helped me. Actually, when I was learning was James Gurneys light for the visual artist light for the What the hell is that book? Oh, and, uh, light for the visual artist is another one. A post uh, puts the names of them underneath here. Anyway, that wraps it up for the shadow pass. I'll see you guys in the next section. 7. Detail: this next step is the detail step. So this one, this can kind of go a long as you want. Really? So basically everything that you want to add into detail, you can add in now. Now, some things I'm going to be doing with this is adding graffiti. Um, going back into areas that have textured. It's sort of bringing those textures out a bit more, adding in a bit more brick detail chips over the sidewalk, maybe gum on the sidewalk leaves on the ground. Basically, all the refinements that are gonna really make this image standard something else to keep in mind when you're doing this is maybe think about where your area of interest is doing pretty much pick anything in the mid ground or foreground in this and go in and just start adding more detail to it. - Uh uh. I'm starting to add in little cracks and variations on those color blotches. I guess that I had made before, and that will just add again more visual interest since I want little dots here and they're all these little subtle things will add up to make it feel like a riel beat up environment I guess it doesn't have to be beat up, but in this case, it's beat up. Started a trip away at this 7 11 logo. Looks a bit too clean for me and for from all the seven Elevens I've seen, they're pretty beat up and run down. They have never actually seen one that looks pristine. So this is just thinking what those plastic kind of crappy looking signs and that the texture gets worn off over time and it's faded. So just trying to get a bit of that realism in there for this amusing. Just a basic photo shop eraser brush going in have the brush sets a really tiny and just chip away at that at that texture. - Now that starts pretty fun. You just adding graffiti in and all I do is take a small brush, maybe a bit of a brighter color, and it paints, um, basically paints of scribbles in their scribbles and different symbols. Maybe hide your name in there. If you're working on a background for a show, hide your girlfriend's name. Whatever. It's good to reference for feeding because it's not. It's not just scribbles. They actually do, say, some stuff. So if you if your research graffiti and look it up, I actually find them pretty interesting. And they really need shapes and symbols you'll see. And that will give again another sense of realism. If you have some real graffiti tags in there, just adding in some of the wires now in this telephone pole for this I get. I used the texture brushes before just struck down to a smaller, thinner one, and I'm just going through and putting these lines in going over top of them a few times now, this tree back here is looking a little bit flat. So again, lasso tool makesem leaf shapes, just little round shapes coming off of it. This one's not masked into the overall shape of the tree because I want them to break up that silhouette a bit more and add a little bit more of depth to it. The clouds were looking pretty lame. Overall, they're very, very rigid and sharp edges on them, so you go through it. The texture brush again. Sample that cloud color under started paying around the edges to break that, break that up and make you feel a bit softer. That's it for the detail past. Next we moving onto lighting, which is the final step 8. Lighting Part 1: We're gonna start doing a lighting pass on this now, so most of the lighting layers will be using are set to overlay and they're usually have just a slight color of whatever the color of the latest. So, for example, these lights here I would use white because they're gonna be a white light for the window. Here will be a bit of a greenish turquoise sea life for the 7 11 side. Also be a white light, and street lights will be an orange or white. So this will be the same basis. Same process that we've been following with masking and using lasso tool to make shapes. That's what I'll do is go through, start shaping out, creating the shapes for the actual for the lights that I want to turn on in the set. So we'll start with these ones here from the sidelines cities. There's going to be a white just a pure white light set the layered overlay, photo shop, soft round brush. And it didn't work so very basic. But even just with that, you can see how that's gonna you concertante layering these and talk to each other to create a lot of different lights and variations in your scene, but one issue. So you see this, uh, Dumpsters now in front of that So we can do with this scroll down here. There we go. Look for Dumpster control. Select selector, lighting layer hit. Delete. Now that will be. That light will be affecting that, but we're gonna want to add a little bit of the room light on this. So go back in the paint that back on top, a little bit on the lid there and usually color code. Any light layers yellow. Just when I'm strolling through my painting, I can kind of identify them. I can identify them easier than any other layer and know that they're affecting the layers below them, just going through and thinking about where what these lights are actually hitting and what they're going to be affecting. They started adding in or removing parts, but for for shadows here, great social, right? Go through now with softer racer and just soften. Note the edges of the light. What's nice? Well, painting like this without having a painting that's very, very overcast and sort of neutral colors, and they're not they're not any strong lights is that you can go in now and basically light it however you want, you could make it nighttime afternoon. You do a daytime scene for this I'm going to do. I think I'm gonna do like a late evening sort of wet looking tonight. So let's start doing is go through and identify all the major light sources that I want in the scene which will be these two lights here, the main window from 7 11 store and then the 7 11 sign. I might also include one of these street lights on the left side here, thinking at a street light in there and maybe some window lights in the apartment buildings in the back when you go through now and do that and I'll be following the same process, just creating shapes on using them set to overlay. So for this guy here, I wanted to be replicate the shape of the window on also starting to think about what it's also gonna be hitting. So it's gonna be hitting the side of this, whatever this is electrical box thing and also just a bit on the side of the trash can. That and then also just a tiny bit in the street. Great. So that's pretty rough shape for that oil sample. A color from inside of this now. So sample the screen, bringing up a little bit brighter, a little bit more blue. They're going to turn that overlay. Just quickly. Brush that over talking. You already see how that looks like a light just turned on in there. I like playing around that two. You go through and just start turning lights on and off, almost like you're in a three d set. So it's something really satisfying. What? That being able to turn on turn on and off flights within your painting. Okay, So with that one and again going to go through the soft brush race of the edges to make it a little bit. Let's hard to the end. It was closer. They are closer. The shape is to the actual light source. You keep those edges CRISPR. So right here is this corner and the lights coming off so I could be a sharper edge the way it is there. Same with this one here. The street. We're gonna have a race off this. And so it's kind of like the latest was disappearing is not strong enough to get that fire out onto the street. Something else to think about while you're doing this is just the shape of the object that the latest hitting so it should support that shape. But you can also make it a graphic at the same time. So this for just going a little bit of an edge on there, revenge on the top of the trash. Can this thing just actually race that folks? We get this side of it more defined. No, they add dissection. It feels like it's going over there a bit more and then softened. No, I'm gonna race a bit of it. Odling the base here so that shouldn't The base underneath the window here should not be as bright as the ground just because that light can't really hit this pirate in front. That's that's looking alright already. That's making a huge difference in the painting. Now just 7 11 sign. So same thing hard round or soft round brush sampled a lighter color in there, and you can just paint over top of it such overly So the signs you have a really soft sort of glow coming out of them. Uh, it's good at this point. If you want, you can reference Google images or if you have any photos of signs like this under CEO, see how bright they get. That's looking already. I don't want this one to be too crispy there. I wanted to look kind of dingy and, you know, like it's worn out of the plastic is really kind of crappy looking on it. Cool. Okay, that's not looking too bad. I want to do the same light I did here. But coming from this wall on the left from the like, the front windows of this store so we could do with that is select the store. Here's the building it Since it's all still separate, I'm gonna go behind the building. Same thing. Let's think about shape. Maybe the like shape comes like this there and maybe a little bit bigger. That and now we're gonna dio salt and de select this little sliver of peace there such maybe like a shadow from from the sidewalk there being cast in the parking lot again. Sample of same color from inside. I sent this to overlay, and they're just quickly brushing a little bit, a little bit too crisp from the top. I think it looks a bit too, too bright overall, I think so. I'm gonna go in racing. So it's almost becoming just like a glow now, but and then add in a little bit more, just with no shape, just a a soft brush. Airbrushing this in Cool. Let's looks certainly okay. No gonna add I want to like this tria. So I put the tree to a group and then over top of that again set to overlay. I want this to be like a white street like that we can't really see. But it's, you know, we're gonna pretend it's back behind this building on the other side of the house. So airbrushing using a just white, almost white here. Such overland. That sort of gives a look like it's being lit from underneath like it's taller than the street light, but the lights coming up from below. But now just add a little bit more detail to the same process we did to create the tree leaves in the first place, go through the lasso tool and just make a lot of little leaf sort of shapes in here thinking about them being lit from below. So we're not going to do any of the top where I can put any up here just from the bone. Okay, it's not in a sample tree color, a little bit more saturated and just a bit more just a bit brighter. Paint that in Look for after, such as as a little bit of a little bit of volumes in that tree makes you feel like there's something lighting it on. Some of those leaves are catching a bit of that light. Very cool. That's working. This is working pretty good base overall for some light. Let's add some to the apartment building back here, so we saw these windows separated. Now what we could do is lock that layer, go back to our sketching brush to go to a yellowish. You do a bit of an orange, not pure yellow, just to show. Maybe that's a bit further away way. Don't wanna go bright like this. It's too. It's too distracting and plus these lights in the foreground way. I want that to be the focus, not not the Zafira buildings. So we go to this almost like golden color. Just fill in some shapes, leaving some negative space, and they're still you don't just, you know, fill little thing you can if you want. It gives you a different sort of look. But for this and trying to think maybe there's like curtains covering a little bit of it. You know, maybe they only have one light on in their hosts. That's the most people I notice around here in the city. People have weird colored lights and I was like purple and green so we could try to add and just look like. But it started out and like a purple, so that looks like that looks kind of weird. So let's get rid of that. Maybe in another painting work, but not in this one. Okay, that's too bright. So she follows process enough. The other buildings sat in a little light here and there. I think that's good. Do a little bit of a detail pass sheer with the light from the foreground. So what? I had a stronger light going around this dumpster. Just gonna make just gonna make a note line. Was that using a lasso tool on the parents that I want to be being hit by the light. I should try a light up to this side of it a bit, whether or not delay would actually reach. They're not. I'm not sure, but just for the design sake of it, I wanna light up this side. Just so there's a bit more contrast between left side in the front. Do that. I'm also gonna add in a little bit of a rim light on the telephone pool. Have that stand over Tony. But on the sign on may be a little bit of light on that weird yellow center. That and I'm also just lose that selection. Undo selections back. Put a bit around this sign just to silhouette it. Offset background. Just a silhouette. A bit off the background there. What happened? Just choked a little bit. Okay, No, on the side on the street actually switched to free this lasso tool so I can make my own shapes, and I'm gonna make some random sort of shapes here on the road. That's if it's picking up a bit of the you know, the inconsistency in the road. It looks like it's a beat up. So have that. I'm not gonna do too many on this side here. And the idea with that is that the road is actually this shape. You know, the road is slightly curved so slightly higher in the middle that is in the gutter. So the light will be getting will be catching more here than it would on the backside. I had a little bit next to this manhole cover they're on also tiny bit around the edges here of the sidewalk, you know, just to show a little bit of textures of the edges broke up. You know, maybe someone drove their car into it. Someone's drunk back to truck into it. A little piece broke off. Usually see that curves were getting curbs getting pretty worn down. And also, I don't think the light when I should reach you're going to see what this looks like. Just bad. Not a sliver of light hitting promises. If it's hitting the opposite side of this foreground curb on the front side that's facing the street, if that makes sense, OK, so again, switch this to overlay and I just selected, so it's late. I'm gonna fade this color off a bit. Now, my canoes, as strong of a color as directly sampling this interior coloring faded down just because this is further away from from the light source, Let's paint it in. It's created this cool blue effect there. This light here, you know that actually don't really like that race. Owed a lot of this foreground edges of the curb there looking. Okay, race a little bit of that, too, in the street. Now, use that really thin eraser and just go over top of this to sort of texture of thes light shapes. More. They're very subtle effect. I actually erased almost all of it. And you know what is realized? I completely forgot about the other Selection adds nothing to try to undo all this. Get it back. Which I don't think that's not gonna work. Okay, so you're a sad Oh, forget about this stuff. So you make a new layer. Now go back in, create these selections, these planes on the dumpster. Come on there. And then a little bit on the sign again. And a bit on this town from I'm not gonna do the yellow thing anymore. decided against him. So this one sample weight, light overlay over talk. Do you see that? Looks pretty cool. Now it's getting some light on it. I don't think it should be this bright, actually. Swing a race. Just a bit of it off Soft. Look like this one here is fine recent bit of this. So it's not like the hoax is being lit up cool. So it's working. 9. Lighting Part 2: great. That's starting to get somewhere. So no, I'm going to do is I want this to be a bit of an evening shot later in the day. Evening. Yeah. Even so, I made a break. This layer a dark in the entire set here. I'm going to go in with the eraser tool and a race back out some of the slights. And I could make this even brighter or appear to be even brighter just because everything else around it now it's darker. So this guy, soft light coming over there. Okay. What's nice about using this overall brightness? Bringing that down is now you can just use the software race and you can really draw attention Teoh specific areas. So this area and you don't have to be too tight with it. You can just kind of use a, you know, big brush strokes to lighten up certain areas because already have your lights established . It's not going to affect those too much, and so knows I'll do this multiple times. I might make you know three or four of these brightness layers and layer them on top just to get very subtle changes in value and the brightness of these lights. Cool. So you see the difference that that made really brought the attention here and starting to feel like it's darker as well. Obviously it started feel like it's later in the day, like evening. Kind of depressing looking almost. But that's OK, great. So happy with that? No, I wanna add in Street League, and you could do this before before you do the brightness layer. In this case, I'm just gonna add it over top. So the idea is that there's a street light and really, if there actually is a street later, right here, I think right next to him, there's also a 7 11 sign that standing up here somewhere but in the parking lot. But I didn't include that. So we're gonna put just the idea of, like, here's a big cone, you know, light shape coming in. Now we're gonna select a pretty saturated orange and again soft brush, maybe a little bit towards red. And right now, this is just set to normal. No blending modes or anything. I'm just gonna do that. Okay. Just a big sent that way. The light is actually affecting what it's going over top of If we set this to overlay, it does, which still looks nice. But that's not really how light would be behaving in that way. It would be affecting the values that it's it's passing over. So it's passing over this sign in the background, and that's gonna wash out a lot of that detail. So now we're, uh, now we're gonna do the same thing over top of this, but using an overlay layer in the orange, you under soft brush, put that over top. Now it's starting to show, as if a ziff this light is affecting. You know, the street here on the sidewalk and everything. It's really tempting all that stuff to Orange Way. Don't go too far thinking about here like that. Um, this light will be intersecting the window lights here, but you sort of airbrush that in where we think the light might be falling. Be very rough with this. It's really like it or not. This is my favorite part of doing any painting, Really. That's why don't do as many personal pieces cause it's like I have to do the whole thing and get to the end just to get to the part of life. Cool like that's looking. Now we're gonna wanna put thistles a bit too hard. So we're gonna select that shape again. Again, Softer racer and just a race of the side. So it's not as crisp coming down. No, make another layer. This one's also set to normal. And I'm gonna make shape here on the ground of where the slate would be hitting. So something like that, I think. I'm sure. Now with this one, I think we set this to screen and see how that looks not very good above normal. That's gonna look even worse to it. Overly. Okay, that's not too bad that race with sides again, just a soft in this light up a bit. It's Look, it's OK. Do another overlay set this tone even lighter Orange. No, it's not paint over the whole thing, thinking about this lightship of how this light is hitting everything here. No darker orange again. Does it fit? Slating up? It's part of the sidewalk all the way down here just because there's no other lights in the foreground affecting this, that orange light is going to start to fill in a lot of that area. Great. So that's looking pretty decent, I think right now, So something cool you can do is as you're getting more and more lights and years, you start to group them together as long as they're not masked within anything. So what's this one here? This is all the streetlight ones. Nothing of groups. Now you can just turn it on and off is if the street like this, you know, turning on enough. That's that's looking. Yeah, that's looking pretty good. So all the basic lights are in here now. I don't really want to add any more than this. I think this is good. It's going to be too much. But for this course, I think for this class, I think it's good just to show multiple light sources. So again, something to keep in mind with it is just the color of the light source where it's coming from. If it's a white light, you wanted to be a bit of a green light orange late. If you look up different light sources, you can actually see their color spectrum and how they emit light like fluorescent lights. They give off Ah, yellowish green light, which is usually what likes the interior. So coming through this, I'm really gonna push that greenish, you know, peut looking color just to really, you know, just to push the idea that it's being lit from inside and the light source that where it's coming from, fluorescent these guys over here on the side of the building there is white light generic, you know, nothing too exciting. So now we're gonna do a sort of a detail pass for the lighting I want to use for this is go back to the sketching brush because I wanted to have a harder edges that I wanted to be soft light anymore and again, going to set it toe overlay, sample a lighter color here. So we're gonna do this main window saying that I'm sampling turquoise color and making it even lighter. Now, what I'm thinking about is where it's hitting on these buildings and really, really emphasizing that. So this edge here is gonna be pretty lit up by the window. That doesn't have to be perfect enough to make a perfect straight line. You can make it slightly vary just as if there's trips over the brick there in the wall and making it in perfect hearing to make a shape for this side of this box thing. They're so it feels like it's being lit up now by that window. Here is the garbage can on then along the sidewalk hearing to make some little details just to reinforce the actual shape of it. Don't go too bright with this. Like, keep it fairly, uh, you know, tone down. You want to be going like this, and like, unless it's wet or something, I don't know, but just a little bit in the street here. A little bit too much. So recently? No, this one. A sample that orange color. Now, see here we don't really want it to look like this where it's like orange light kind of glowing around it. So you make another new layer, and this will just be set to normal. No adjustments or anything. Your sample at orange Color go here not just painting. Uh, rim late on top of this that I'm gonna do the same thing on this side of it. As if a bit of the light from the window is hitting it. Do the same thing on the trashcan make a little bit of a highlight because it's a plastic lid on these things. Usually what side do the same thing for the walks? This is a normal layer again, just painting in highlights and brick details. Whatever is going on here, think about this a little bit. Highlight around the edge. What is that? This garbage on here? Let's put a room light on the garbage. Okay, that's working now to do the same thing again, a little room right along the base of this window, just to show the latest coming there. And I'm also going to make a shape on the underside of this overhanging sign, that simple coloring to make it darker just because it's it's falling off from the window so it can't be as bright as the light source. The light source. If you can see the light source, that's usually the brightest point of the lighting. So put that on there. That looks really crappy, so we're actually using airbrush, so this looks It's a bit better, but still not great. So instead, we're just going to use, like the bottom here, like that really shows the window frame and like it shows like there's another layer to it and keeps it from looking too flat. So there's that now. Instead, what I'm gonna do is just light up the edge of this just to make it a bit more interesting . I think that looks better than the other one. Maybe not. Resettle. Okay, Just faded. Great. Now that 7 11 son, I'm not really making any light coming off of that because it's very, very dim, and it's covered by this big plastic sign. So it's, uh it's not gonna be too strong. There's much stronger light sources here, and those ones will be dominating the image, such as the street light on the main window here. So this is really starting. Look decent now a street light back here. Forget that. This guy's here, so it's actually gonna be behind the streets late. So turn this one off here, make a street light shape, airbrush, and this will just be set to normal. And a bit of a red color Reddish orange. I like the way that looks that turn this one back on. There 10. Lighting Part 3: now, sometimes in cities, you'll get this sort of a backlit look to it where there's, like orange light, sort of coming up from the horizon for a bit of weight. Issue orange light just from distant buildings. Going to go through now and try to add that and go all the way down here to the sky layer, clouds and all that. I'm happy with the way they look. Some actually emerge them down until one sky layer and now over top of this airbrush sample and orangish color again said that overlay and a tiny bit of last year Don't get too pink, but they're kind of like how that's looking. No, I want to try to separate this host a bit more from these apartment buildings. So scroll down here, find the house group house group Host Group house. Okay, sample. A bit of a white color is if there's another street light or something behind it and Brush said, and that's I don't like how that's looking, so let's try a reddish orange instead. That's a little bit better, you know, I'm gonna put a normal layer and put that in like that and now soft note those values of the parent buildings behind it, washed them on a little bit and push them further back in the scene. I should be a little bit too intense. So knock that back thing going to see Eraser and just a race of it out. If you could see that there, it's actually affecting down here. I don't want to race out of his Well, okay, now, over top of this whole thing, we're going to create a color balance layer the color balance you can use at any point you're painting. Someone's using at the very start, Um, or at the very end, it can sort of. It could make your colors feel a bit more cohesive, or you can use it to adjust a whole section of your painting and make the colors feel maybe all cool or all warm go through here, usually use the magenta setting and push it a little bit towards magenta. Maybe a little bit blue, depending on the scene. I'm working with this one here. I want it to be cooler, cooler and warmer at the same time. Almost hard to explain, but do you want to go crazy with their US. It'll make your painting like it can NASA cool effects sometimes, but it can also look kind of cheap. So, like that's looking to see the before and after really makes a big difference. But I don't want to be affecting the whole painting, so I'm gonna turn that on back to your racer. No race over some of the street area in the foreground area, so it's more so affecting sky a little bit in the background. I don't think the sky but darker. So we're gonna go all the way back down here. Sure, over the sky layer credit brightness layer and bring that it's not going to make a curves layer. This is gonna moving a slider. Air brings up the grayness. Overall, you can see it's brighter and brighter too much. Bring it a bit in the middle. Here will be your middle tones or mid tones. Bring that down just to tighten it up slightly thin. Then now this will be the dirt really bunk. Those now. One problem with this that some people might experiences if you're working on its antique, especially the older models. Antiques. The color calibration is not that great. So on the actual city screen for me, this looks very dark, very saturated. But in reality, on my other monitor, it's Ah, it's not as saturated Nona's contrast e. So the main reason I used these layers is to adjust it to make it look the way I see it on my screen versus how it's actually gonna show up. It's not very efficient, honestly, but it's something have to deal with using on older models. Atik that doesn't have proper color calibration. You can see the difference there like contrast. Okay, so you tweak his layers a bit. They're pretty happy with how that all this is working out. No, this is kind of cool. If you group all these lighting layers on top, you can turn them all off now some of the ones that are behind layers. Obviously you can't put those in the same group, but it's cool to be able to turn on and off the light and can change the time of day. And so what? This working this way allows you to make different lighting solutions pretty quickly overall and test the boats, see how you wanna you know, see how you want to let your painting, So this one is an evening one could easily do. Ah, daytime. One afternoon. Do you change the weather as well? Maybe it's raining or snowing. Even. There's some pretty happy with how this is looking overall. From here, I'll do a finishing pass where I treat this as if it's emerged down painting now and I'll start painting over, talking, doing details. 11. Finishing Touches: All right. So congratulations, you made it through the videos or you just skipped right to the end. Either way, this is the final section we're doing here is just finishing touches tweaking some of these lights, Uh, just sort of doing overall painting pass, changing a bit of a bit of values and colors here and there just to bring the image a little bit more. Now, it's actually been a day between the last video and when I'm coming back to do the finishing touches, I like to do that with the painting. Just because it gives you gives you fresh eyes. You get to see things you didn't really see before. You see where things were not really working and what things are working. So going to go ahead and just start cleaning up some of this tweaking some things. One of the biggest things I'm noticing is just this green. The green light coming over the color of the mean when they're here is way too intense. It's like, way too bright. So I'm just gonna calm down a bit of this. Something else I want to do here is going to cool off the sky but more feeling like it's getting a bit too warm and it's sort of flattening out the overall image. - So here I'm going to add in a little tiny piece of light underneath these. So looking for this area to be mostly the focus overall, well, the 7 11 building as a whole to be the focus. But just to bring a bit more attention to these lights, No feeling like the Shadow is not quite as dark as I would like. - So all done here is just out of multiply layer over top of this. And then I'm gonna go in a race. Some of these lights again just with soft round eraser. You can see here what a difference this is made. 12. Final Thoughts: Okay, that's it for this painting and this course. I would like to see some of your guys work, even if you only have one step That's great. Just posted in posted in the section there. I'll have a look at it and give you some feedback. I'd also like to hear feedback from you guys of what was good about the course. What wasn't good and anything you might want to see in the future or something you'd like me to break down in my own process that I didn't really cover in this video. And with that, I'll see you guys in the comments and again looking forward to seeing some of the work. OK, bye.