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.