Fun with illustration: Draw Character in Adobe Photoshop | Xue Huajie | Skillshare
Search

Playback Speed


1.0x


  • 0.5x
  • 0.75x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 1.75x
  • 2x

Fun with illustration: Draw Character in Adobe Photoshop

teacher avatar Xue Huajie

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

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

      0:54

    • 2.

      Sketches

      3:53

    • 3.

      Fill the character with a base colour

      3:51

    • 4.

      Adding materials and textures

      7:10

    • 5.

      Recognising light and shadow and composition

      12:09

    • 6.

      Painting a background for a character

      11:27

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

258

Students

4

Projects

About This Class

About This Class

Are you also curious about how professional illustrators create their illustrations?
What software do they use and what tools do they use?
How do they use reference artwork?
What techniques are used in the process and what is the final output like?


Perhaps you would like to know if you too can create your own value like these illustrators?

The word "illustration" comes from the Latin word "illustrio", meaning "to illuminate", which means that illustration can make the meaning of words clearer and more lively. Illumination - this is where the combination of illustration and commerce can bring out the best in a product in a way that words cannot, through the artistry of illustration, which has now long outlived its status as a 'text illuminator'.

What You'll Learn

  • Learn about the illustrator's creative process
  • Learn how to use Photoshop to create illustrations
  • Learn how to use colour schemes and textures to create atmosphere and add detail to your work

No skill is innate, even if you don't know how to do anything, you can still be strong if you put in enough effort.

------

Tools needed:

  • A computer
  • Painting software, Adobe Photoshop

Other tools of choice:

  • iPad, paintable software such as Procreate
  • Android tablet, working painting software such as MediBang Paint

Who this course is for:

  • Illustrators who need to learn a new style of painting
  • Artists who want to break out of their style
  • Graphic designers who want to add a side project
  • Advertising designers who have creativity as their lifeblood
  • People who want to work in the commercial illustration industry
  • Anyone with an interest in drawing and painting

Meet Your Teacher

Teacher Profile Image

Xue Huajie

Teacher
Level: All Levels

Class Ratings

Expectations Met?
    Exceeded!
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction: Illustration is a great hobby and giving us promotion that you can seek in your daily life. In this class, I will show you how to create your own decorative portrait illustrations using Photoshop. Welcome to Fun with the illustration. My name is tangible and I am an illustrator and I had been working in the illustration industry for eight years. In this class, I will use my extensive experience to show you how to draw your illustrations based on reference. How to enhance the illustration through knowledge of points, lines, and surfaces in graphic composition. And to analyze that importance of light and shadow effects in illustration, all you need to do is watch this course and crackers and you will be good at it. I decided the class for someone to mommy illustrations. People come up to share their lives. Graphic designers, artists, illustrators who need to learn a new style. I'll see you in the next video. 2. Sketches: Hello everyone, Welcome to my class. In this lesson, I'll be working through a portrait illustration to show you that process steps and techniques I use in my daily work. First, we need to find an image to use as a reference. This is my library. I usually collect pictures of people who are outfits that I like. I suggest you do the same and create your own library. I think this picture of a girl is a good one. And I look and costume of the girl is perfect for a beginner to use as the first attempt at drawing. Okay, let's start painting. The software I use here is Photoshop. Click on File here and select New, trying to choose the larger size so that the exported image will be clearer. Here, I have chosen the poster size set by the software to make it easier to view their reference image. But anytime we need to create an art board, we click on Create a new layer in the bottom right-hand corner of that layer section. Then select both the created layer and the background layer. Click on the right mouse button and select Artboard from layers. Click, Okay, and now our art board is now created. Next, find our portrait image from earlier and drag it directly into Photoshop. Press Enter so that the image is imported. Drag and drop in next to the art board so that we can view our reference image. But anytime create a new layer in this board, then think about how we should draw it as an illustration with a flat mechanic effect. Here I have chosen to give a simple overview of the shape of the figure. So let me show you how to do this. Choose a brush with a chalky texture. Here you need to adjust the brush preset. Once we've made the adjustments, we can start painting. First, we need to look at the proportions of the figure is height. Because of my drawing style, that proportions of the figure are quite exaggerated. However, we can start by generalizing the proportions of a normal human body. Then we can exaggerate the head and body proportions. Okay, let's get started. Let's continue to look at this picture. I'm going to start with her hat. Choose a darker color. When drawing. Don't worry too much about whether your lines are perfect or not. Feel free to draw as you go along. Don't take your time. Just sketch the shape of the hat because we need to adjust it later so you don't need to be perfect. Just draw freely and the casual leave. The hair can be painted like this. Then you can start with the face. That face can be drawn as you like. Just follow the shape of your face. You can also draw a round face light idea. Once the head is drunk, press and hold down the Control and D keys on the keyboard at the same time to re-size the head as much as we want. Then we start to draw the body. That video is not quite a day exaggerated style. I want it to be. I'll be making some changes to the body later on. Since we're only scratching at the moment, as long as the pose is not too problematic, it's fine. It doesn't need to be very realistic. This is the nose then demos at a little more detail. And here you can draw some flowing here. It looks like it's being blown up by the wind. Okay, that's our sketch down. 3. Fill the character with a base colour: Welcome back to our class. Now, after our sketches are done, then I turned down the opacity of that layer here so that I can see it's clearly when I'm coloring it in. Okay, Now I'm ready to start coloring. I've just created a new layer. I'm going to paint that had yellow and continue to use our chalky texture brush because I don't need to paint a lot of detail in my style. So just use that flat paint method following the statute to flatten that color. When painting hair, just drawing it's randomly as long as it fits the direction of the hair. The hair at the back go to the back. These areas can be trimmed a little. This will make the hair look more or less the same. Then choose the flesh color. Start painting the face. They show up to layer your face when you paint. I'm trying to save time here. So I didn't write the name of each layer. This is probably that face. Let's start looking at the projection of the face. For the eyes, we need to find the dry brush without texture effect like this, to paint some shadows on the shadows on the top of the hat. The highlights on the brim of the hat, or where there is some contrast between light and dark colors. Try to choose colors within the same color family. Don't make your color choices too dirty. Things that brand with some shadows. David, a more textured look. Then we'll trim the border of the brain. The hair will also have some shading. The areas that are covered by the brand may be heavier in color. The same goes for the face. There will be some shadows in the areas covered by the fringes along the outer contours of the hair give it some texture. The neck can be shaded in the same way at a little bit of lighter impurities, then the face is almost complete. At some facial features and lush. Continue with the chalk brush to paint the characters features. So let's take a look at the overall effect. It looks okay. Then we can add some details to the hat. The hat will have some black trim on it. So that whole head is almost done. Okay, Let's look at the color of the model. It's the gray top. Choose some grayish colors. Go for that tone of the dress. Once we have drawn the shape of that figure, we can use the same steps to add some details. This color is the good match for the overall picture because it is not particularly saturated. So there should be no major mistakes with it. During that coloring stage, we can use the flat painting technique like this. Then retains the arms. Move that back of the figures close down a little more, add more focused flesh color. Make a distinction between the colors of the two hands. This completes our base color. 4. Adding materials and textures: Welcome back to our class. In this lesson, we'll add a textural effect to the figure. I chose a dry brush. Choose a color that is darker than that close brush on the texture like this as a shadow based on the shading relationship. Then texture that close to add texture to them. When painting the texture of the garment, they cause dry brushes are not as easy to master as solid colors. So you don't need to try to get it perfect in one go, if you are not satisfied with the result and paint again until you are satisfied with the result. So this step may take several attempts before it is successful, we need to keep trying. The second thing is to pay attention to the relationship between light and dark when painting texture, e.g. if there are hands and the lens in that area, there will definitely be shadows underneath. Although you don't need to paint a particularly realistic, but you should emphasize it a little. This will give you a back and forth effect on the joints. We'll look more realistic. Once you get to this level, there will be a lot of texture on the clothes. But because of the jumper. So after we finish the dry brush, we will continue to add some dots slashes to create a texture jumper effect. Then add some darker colors to give that dress a more layered look. Then we'll use the dot brush to try out some dots. We'll go ahead and paint some details. E.g. dies leaves. You can continue to use the dry brush to add some gray tones to it. You can have some color tendencies with this shade, either yellowish or reddish. We choose a darker color and apply some shadows to the arm. Do the same for the back arm. Because my style is flat. I don t need to be too realistic. If you want to make the figure more refined or if you need a large size for this flame so that if you came to simply, it won't look refined. More like I have finished product, then you can add more texture and texture, include details in the hand tool. If it is done as a very small pattern or if it's in a small part of a picture, then some details can be left out. E.g. if it's a finger, you can leave out the joints. A few simple lines are sufficient. If it's not important, you don't need to go into too much detail. Let's draw that dress. Choose a navy color similar to the one in the reference picture. It doesn't matter if the color you choose doesn't look like the reference image. We can change it later. Here I use the dry brush. I use the dry brush to create the shape of that Scott. Once you have painted desk guards, let's adjust the color of that skirt. First, double-click on this layer with the mouse. This will bring up the Layer Style window. In that color overlay. Choose the color that is similar to. Change the blend mode to normal. Now you can see the preview. It looks good. So choose this color. It will look more in line. Then the girl has a leaf in her hand. Take care to adjust the order of the layers. It's highly recommended that you always name the layers. It will be easier for you to find them. That girl has a leaf in her hand. Feel free to sketch out the shape of the leaf. Take a look at the overall effect. Since there is no background, I only drew a figure like this. There are some details that can be adjusted, e.g. the hair. I want to make the hair more vivid. You can add a few hairs. You can make the brush size bigger. You can look at the reference picture when you draw that here, see how the girl's hair moves. At a few hairs like this. It will look more vivid. It has the feel of the wind blowing. It's better than drawing a piece of hair like this alone. At a line element to the picture like this, it gives the image more movement. This is also inspired by the reference drawing. If we were to draw it ourselves, you might not be able to imagine that actual movement of the hair. And how does the hair move? What's kind of rhythm? Does it have? We all need a reference. Now, I want to remove all the textures from that close. I'd like to retain the texture to make the clothes look less dirty. When you add texture, it's easy to make the colors dirty because the girl's dress in the reference picture is clean and white. So you want to make the girl's dress cleaner, cleaner? If I were drawing a vintage style illustration, I would have made the textures more patchy. We start by painting the shadows and then use a brighter color to create some accents so that the texture doesn't look stiff. Layering it on top of each other like this to make it look more natural. Now, I'd like to try adding some dots. Select a dark brush. Let's see what happens with this brush. The grain looks pretty good. Here I've chosen to use the positive overlay blending mode. This gives a more defined texture. It also looks a little more natural. The result looks okay, Let's go on to adjust the details. I'll get more for the hair I wanted to create the effect in the reference picture. There are a few strands of hair and the shoulders. Try a few more times as you draw. It's okay. You'll have to try a lot to draw. Even if it doesn't turn out well, you can undo it. Then try again. You can modify the edges of the hair light, make it look like it's thrown back over their shoulder instead of a hard patch of color on their shoulder. Then at this point, we can even out the color of his clothes. That method is not particularly difficult. It's the generalization of the look that's difficult. Now that whole person looks more comfortable, okay, create a cut and paste mask. Then continue with the dry brush like this to create a line that separates the arms from the body. Make a distinction. This will probably be clearer than if I had used a texture. It will bring out a change in the joints of the arm. Also can be used as a line element to accent our image. Doesn't look too boring. That color can also be accented with some short lines. This way, there is more detail. Then there are the ruffles on the garment which need to be added a little more. This will give more detail to that close. Okay, That's it. We're done with that video. I hope that after reading this step-by-step practice and experiment more, that's all for today's lesson. See you soon. 5. Recognising light and shadow and composition: Hello everyone, Welcome back to our class. In this lesson, we will be focusing on the shaping of a scene, includes composition and the lighting. They use of texture and then use a flat composition in the scene. So let's get started. Firstly, what are the most common ways of shaping as seen? Here, I have summarized two points for you. That first is composition, the second is light and shadow. I'll use my two sets of illustrations as examples to explain to you, look at these two sets of illustrations. This set is that spring series of illustrations that colors used our glider and the more saturated and the composition of the picture looks flatter. And over here is my film series, the illustrations. These are a little less saturated and you can see that I have used some modeled textures. I have also used the perspective to create the scene so that the image is not so flat. This is one of the ideas I want to share with you today when drawing and illustration, you'll either need to focus on that form or that content. Focusing on Forum means that the aesthetics of the illustration are the most important thing. Focusing on content means that the storytelling of the illustration is most important. We take a closer look. In my spring series of illustrations. It has a lack of storytelling. When you look at it, you may not be able to relate to the content of the picture. And it's light and shadow effects will be weaker. Almost no light and shadow effects only focus on color and the composition. Whereas in my film series, the illustration, that picture is more story oriented and the light and shadow effects will be stronger. In other words, before you draw an illustration, you have to think about what your purpose is. It for aesthetic reasons? Or is it to convey that story? If you want to achieve those, then you'll have to make some trade offs. Take my spring series, e.g. it will be more decorative in nature. A combination of dots, lines than surfaces to make the picture look more composed. To make the picture look better, a lot of meaningless decorative elements are added and the colors used are also more varied. Whereas in that film, series, composition and the light and shade are very important in order to convey the storytelling of the picture. Because that story is contained in that film itself. All you need to do is to select a suitable image from the film to summarize it and then distill it into your illustration. So when choosing an image, first of all, you need to choose something with strong light and shadow effects, e.g. they won. We see here the light and shadows are very strong. They overall environment is very dark. But in that doorway where the main characters are standing, it is very bright. That whole picture is focused on the main characters hugging each other. You'll lose sight of the other elements of the scene and become fascinated by the main characters. And you start to wonder why they are hugging each other. From here, we can see that a storytelling painting will reduce the extraneous elements, the focus on the main characters. But it does not mean that there are no objects in the picture other than the protagonist. That storytelling picture follows the principle of someone doing something in somewhere. So that picture needs to have a description of the environment. You can see that there is some furniture and the furnishings in this picture to let you know that it isn't a home or a house. There are two people at the door and they are hugging that someone is the two protagonists, that somewhere is the doorway. And then doing something is they embrace through the manipulation of light and shadow effects. Our eyes are drawn to that protagonists. The importance of light and shade is evident. It has a focusing effect and it adds atmosphere to your picture. Let's move on to the next two paintings. Both of these paintings have a similar effect of light and shadow because they both show an outdoor scene. Both have some elements of trees and roads. Here. The shadows of the trees are used to create some deeper shadows on the ground. So this way of expressing light and shadow effect creates a sunny atmosphere. You can imagine if there were no shadows in the picture, the whole picture would look very flat. That spatial relationship becomes weaker and the image is less layered. Contrast these two illustrations below, they want on the left also uses strong light and shadow effects. It makes the image more layered and spacious. On the right, I have not added any light and shadow effects, but only use the color just separate the figures from the background. That light source here is also uncertain. The painting below, although the light and shadow effects are not strong, that light source is very definite. It is clear that the light source is outside the window and the interior is much darker. Here I have set the light source outside to create a depressing domestic atmosphere. The main character inside is in a dark environment. In the following picture, we can also clearly see that change in light and shadow. That light is cast from outside the window spreading over the table. While that figure has his back to their light. From here, there is a line between light and dark. There is also a live dark line on the body of the figure. Then on the table because of that undulation of the object, there is also some contrast between light and dark on the table. Imagine you are in a room and there's sunlight from the window is pouring onto the table in your room. They image. We'll also create some dapple light and shadows depending on the shape of the object. This will bring this scene closer to reality. Without light and shadows, the image would not be as vivid and would have no texture. And cinematography is very skilled in the use of light and shadow. So before we know how to add light and shadow effects, we can train ourselves to capture light and shadow by drawing a film frame. This is a little trick of sorts. Also, we can see various layers of effects in one picture. In this drawing, e.g. there is a clear back and forth relationship. In that foreground. That figure is riding on the table. In the middle, there is the window and the archway outside the window in the background, outside they arch, there are trees, buildings, and people walking around. That layering is very rich and adds a lot of possibilities to our picture so that your image is not just a plain, but the story. Is it better to focus on the aesthetics or is it better to focus on storytelling? There's no clear cut judgment here. So whatever style you choose, it's up to you to choose the right style according to your preference or according to the client's project requirements. Okay, we've just finished talking about light and shadow. Now, let's explain how to compose a flat illustration like this from a graphic composition point of view. Okay, let's take a look at the illustrations in this series. As you can see, they are basically composed of a figure and decorative elements around it. If you look closely, you can also see that each character is accompanied by a small animal. And in the background, there are many botanical elements. That combination is very bright. Being this creative concept. I use the points and the line approach to arrange the background in graphic composition. That point, that line and the plane are the three most important elements. That's the most basic elements. That counterparts of the point, line and playing is black, white, and gray. And here we will get into the principles of color matching. Okay, so let's analyze this painting. You can see that there is one main character in the picture, the girl in the background. There are some grasses and trees. These are the blocks of color. These blocks of color, are they playing elements of that plaintiff composition? The elements in the foreground are also combined to form that playing element. That large foliage is also a plane element. There are too many planes in that picture. Your character is also a plane in the picture. It would look rather monotonous. So to enrich the picture and then make it more interesting, we can add some line elements and point elements. What our line elements. As you can see, that tree is also a plane. The branches that come out of it and that leaves that are hanging here can be understood as line elements. It breaks up the contrast between the area of the plane and the area of the image and the flowers and plants in the foreground. They are also align elements and plants are already very decorative. At this point. If you want to enrich the image, you also need to add some point elements. So here I have painted some falling leaves or flower petals. These areas are all point elements that dots on the grass and some textures are all understandable as dot elements. All of these things can enrich your picture. That color alpha garment using dots will give you a garment a more layered and textured look. What we've said before. You send analysis of the dots and the lines of the picture. Let's move on to the next picture. Continuing the analysis from the point of view of the dotted line. That's the idea. And the large leaf, are they playing elements, the veins on the leaves or the alloying elements that dotted pattern, that shiny stars and some textures on the dress. Our point elements. From this image, we can see that the point elements can be adjusted to suit the needs of your image. That dark background shows that it is nighttime, so that point elements can be replaced by stars. If you are using a large leaf as a plane element, then to enrich the detail of that leaf, you can use the point elements and align elements to add detail. And then the same with this painting. This is a son and I have used dots to show that light it emits. It's easy to get tired of too many blocks of color. I used a lot of lines for the close of that figure. It has the texture of a jump on, but also enriches the image for that dot elements. I used the mainly dot textures. It's important to note that the shapes with dots texture need to be separated. Don't paint all the textures. This will make the image look very messy. You can add someone textured shapes to neutralize the image. Textured patterns can also be differentiated by color. You can add layers even if there is no light or shadow. To sum up, we need a combination of points, lines, and the plane, not just a single element. If all three elements are used together and distributed properly, the whole picture will be more durable. Graphic composition does not have to be used only in graphic design. Illustration is also applicable. Well, that's it for this lesson. See you in the next class. 6. Painting a background for a character: Hello and welcome back to our class. This is our last session. In this lesson, we are going to draw the backgrounds for the characters we have drunk. I would like to draw them in the style of the previous spring illustration series. So the background can be decorated with plants and elements of nature. If you don't know what plants to drop, you can find some references. That character reference I used before was also in a forest. So this time I also set the background to a forest. This way I can draw some elements of that forest. Okay, So let's start sketching. Since the background is in a forest, I'll start by drawing some trees. A tree trunk like this. Next to that tree trunks, you can draw some small grasses. You can use some half circle shapes instead, then continue with the branches, then draw some flowers and plants. For our layered look, draw some plants in front of and behind the figure layer to create a shade. You don't need to pay too much attention to detail when drawing. Just sketch out the general outline, because this is just a sketch. Here I have imagined the background of cascading trees. Then there are small branches and the leaves on the trees. Some plants interspersed with that forest. There are lots of leaves wraps around the figure. Okay, the sketch is ready. Now it's time to start coloring. First, reduce the transparency of the sketch layer, and then create a new layer. Start by painting the tree trunk or dark brown, a darker brown than the girl's hair. Once the outline of the trunk is drawn, as long as that area is closed in the frame. Press cheat, and use the paint bucket tool to click on the area to fill it. This is a quick way of coloring in, but if you are not in a hurry to paint, then it's better to paint in one stroke. Okay, once the trunk is colored, move on to the other trunk. We don't need to paint a lot of shapes. Once the trunk is painted, we start to fill in the botanical elements in the background. I want to give the whole picture a green tint. Start with a dark green, start to call it a semicircle of trees at the back. This semicircle will be more suitable for the bushes and grasses. Then we can choose a lighter green as a shade for the spine. This color does not mean that every adjustment you make will be the right one. It's a matter of trial and error. Some colors may not look very good. So don't worry about getting it wrong when you are painting the bald and experiment. Only after you have painted the color wheel. You know, if it is right or not, you can add a lighter color too. That's fine to give it a change of lightness, that contrast between the colors of the shapes could be greater to give the background a more layered look. As I am demonstrating this in class and the need to draw a quick illustration. I have not named each layer, but you need to get into the habit of naming the layers as you go along. In case you have too many layers that you can't tell apart. Start coloring the ground. The color of the ground is less bright than this time. We recommend that you use less or no bright green when painting green plants gets the color is too bright. It will be difficult for the novice to control. My overall color palette is relatively low in brightness. If you want to show the highlights of the plans, you can use this light green because most of the colors are quite dark. So it's time to add a little lighter color as an accent. It's like a light coming down from above. This is just a figment of my imagination. So I need to add something here. I will start by drawing in the yellow from the hat. I want to use this color to paint the sun on the top of the head. This way, your colors will be more harmonious together because all the colors are connected. Then we'll draw some small details. There will be some branches on the trunk of the tree. You don't need to paint a lot. Then we will draw the plants that they beg than some of the plants that, that front it is advisable to start with the heavier colors. This way, you will have more control when painting the lighter colors. The heavy colors could be grass or flowers. Try to use colors that are present in the picture. Here, we are working mainly on a botanical theme. So almost all the plants around us are green, yellow, blue, and so on. Try to have a certain tendency to color. The colors should not be too saturated. Here, you'll have that heavy colors because it's the background. It doesn't need to be drunk in detail. It's enough to emphasize the feeling of the figure being surrounded by plants. Try to limit the number of colors in the picture, just three to five colors here are Hughes, light green, and dark green are both green and belong to one color. So when matching colors, don't try to fill that picture with every color, a colorful picture can be very messy and difficult for the novice to control, so forth and yellow grass in that font, I would choose to draw on the color of the hat. Gets a little trick, and it's not easy to get it wrong by absorbing the yellow from that hat. You can slightly reduce the saturation of that color, but it still looks the same shade. That's fine. The plants in the foreground are all foliage. That shape of the leaves is also quite random. You don't need to paint them in any particular way. Okay, Here are some small line elements that small grasses. Again, we go on to dry in the colors that are already in the picture and draw it out like this. That shape is just a little bit more random. You can also intersperse some of that plane elements. This will give the picture a ritual look. When drawing. You can't get it right in one goal no matter what the color scheme or shape is. So don't worry about getting it wrong. Just try again and again until you are happy with it, because it's a digital painting, you can always change it even if you make a mistake. E.g. if I don t think the shape of the plant is particularly good, I might change it later to suit the picture. That current colors are not white, they are all gray and dull. So I need to add some bright colors to the picture, such as white, because my overall color scheme is low saturation, we couldn't just use pure white. Instead, I chose a greenish white to paint. This white gives the whole image a more layered look. I also need it to add some line elements to the side, like and ears of wheat with its head down at some small leaves to it. It's still the same yellow on the hat, but with a different saturation. I'd like to add some leaves in the top left corner, but I haven't decided on a color yet. So I need to keep trying. This balloon looks like it's blending in with the color of the trunk behind it because everyone is a dark color. So I wanted to change it to a lighter green. Look here, I have painted a leaf in the color of the girl's dress because this color is quite gray, it's not a common plan to collect. So I need to add more plants of this color to the picture so that the echo each other at some more small details to the plants. Again, this gray color could be used to paint some dead leaves or branches as the point elements. For a line element. These can be leaves or small fruits on a branch. Just add random things like this. This will give you a richer picture. At this point, we also need to add some white to accent the image. You can use a yellowish white collar like this to paint some small clouds to give that forest a fairy tale feel. As if the girl is walking in the clouds and to add some interests to the picture based on the principle of big and small far, we need to paint smaller plants in the distance and bigger plants in the near distance so that the picture has a sense of space. Then I wanted to paint some light on that sun. Hold down the Alt key is to rotate the Canvas so we can draw it easily. You can start by drawing short lines like this one inside the sun to give it a more delicate look. Then drawing the same yellow color and use that point elements to draw a circle of light around the sun like this. Then our initial colors are basically failed in. Next, we can add detail and texture to the image. Here we can draw a small sapling. As this area is a bit empty, that sapling looks like some trees in the distance. They outline of the tree is replaced by a circle since it is far away, we don't need to make it too complicated. Let's start painting the texture shows a chalk brush. You can add highlights to the plant like this, then paint in the veins of the leaves. Or add light and shadow changes just to keep adding detail to the plants. To give the plants some thickness. It's a longer process. You need to keep trying and adjusting until you get a result you are happy with. Now I've chosen a dark brush. I want to add a few dots to the image, adding a texture to the plant like this. I'm not quite happy with this effect. I need to adjust the brush presets, make the dots get bigger, then keep trying. Just choose a similar color and texture to that plant like this. I also wanted to try other brushes. I chose that dry brush. I wanted to add some highlights to the trunk of the tree like this. Okay, that looks good. I'll go ahead and add some shadows to the trees in the distance. I don't want to make it too obvious. So that trunk is basically done. Go ahead and select the dot brush, adding texture to the rest of the plants. You can experiment with different brushes. If you don't think it looks good, adjust the brush preset or try another brush. You can always change the colors until you are happy with the result. This one looks pretty good. Next, I want to add some texture to the whole picture. Choose an airbrush. Now start painting that color. You need to look carefully here because some of it is not clear. I've painted a very large number of small noise spots. The aim is to add a model grainy effect to the whole picture. There you go. That's pretty much it. Compare this with that before and the after effect is obvious, isn't it? At this point, we can change the blend mode to color lighting and they affect will be even more pronounced. There you go. Now, I've finished my painting. Thank you so much for watching my class. I hope you've enjoyed it as much as I have. You can watch my lessons and practice your drawing at the same time. It's so slow at first for beginners, but with more practice, it will get easier. I can't wait to see your final illustration. Make sure you upload it to the project section below. If you enjoyed the class, please leave some feedback for others to see. Thank you all for listening. See you soon.