How to Color a Drawing in Photoshop

1. Introduction: Hello everybody, my name is John Goodman. In this class we're going to learn how to use Photoshop to digitally color a physical pen and paper drawings. This process is super useful if you're interested in making comics, creating a logo or an avatar, or if you just want to make a cool, colorful image. And we're going to start with a photo of a black and white drawing you've made with a pen, pencil, and marker, whatever you prefer. And I'm going to show you how to import it into Photoshop and color it. So I'm gonna be using Photoshop elements, but you can use this process with any version of Photoshop. So we're gonna go over step-by-step how to get from this image to this colorful digital image. So I hope you'll join me. Thanks. 2. Part 1: Importing Line Art: Hi, Welcome to part one. So the first step we're gonna do here is we're gonna take our physical drawing and turn it into clean, usable line art in Photoshop. So here's the image I'm going to be using. It's just a little fake logo I made using a micron brush pen. So you can see this is unlined graph paper and it has a pencil sketch in the background that you can still see. So we're gonna have to get rid of all of that. We're gonna go from having this to having clean digital line art that's ready to be colored and it's gonna be easier than you might think. So if you have a scanner, you can scan your drawing. But for this, I actually just used my phone camera to take a picture and then I emailed it to myself. A lot of phone cameras these days are really high-quality. This is actually a great way to get your drawing into the digital space. The important thing to keep in mind when you're taking that photo is going to be lighting bright and even those are the important things. So don't use a flash photo that's gonna be bright, but not even if possible, I recommend sunlight works really well. But if it's a rainy day out or if it's night, if you live in a bunker, whatever, you find the brightest, most evenly lit room that you can, it might seem kind of weird, but you could try using your bathroom. Bathrooms usually have kinda harsh even white light. So that works well while we're talking about image quality before we get into Photoshop, I do also recommend using an ink drawing for this process, pencil will work. You can use pencil if you want, but it's going to give you a rougher quality to your lines. If that's what you're going for, that's totally fine. But generally speaking, you're probably going to want to go over your pencil lines with a pen or marker before you photograph your drawing, even if that's not as much what you're used to. Okay, so let's open up Photoshop Elements and get started. So first off, let's double-check that we're in expert mode and we don't want to be in quick guided or E live. Don't worry if you are not actually an expert. It's more just that those modes are really for photo editing and not going to have the tools that we want. So like I said, I took a photo on my phone and I emailed it to myself and I downloaded that image to my desktop. So we can just click file up here, open. And then here it is on my desktop. There we go. Raise logo dot PNG. We're just going to open that. Don't worry if it's a JPEG, whatever kind of image. Totally fine. Okay, cool. So here we are. Let's turn this into line art. For this, we're going to use the magic wand tool if it's your first time in Photoshop, this bar over here on the left contains all of our tools. Click on a tool, you get the tool options. So for instance, if we click on the Brush tool here, there you go, you can see we have all the options to change the brush tool. We can change the size, opacity, whatever we're not gonna be using the brush tool today though. So what we do want is the Quick Selection Tool. So let's grab it here. And if you hover over a tool with your mouse, it's going to tell you what it's called. So that's gonna be super useful. So click that. Great. And now we can see the tool options are the options for our quick selection tool. And we have access to the Magic Wand right here. It's the little star here. You can see now that we've switched to that the Magic Wand appears up here in our toolbox instead of the quick selection. So that's gonna be handy for the next time we want to use it. So what we actually want to do here is we want to select all of the parts of our image that are black ink lines. The magic wand tool, it's gonna be the perfect tool for doing that, but we need to make some adjustments first. So let's start by adjusting the tolerance here. I like to set that to 70. We'll talk a little bit more about what that means later on. But next we want to uncheck this box that says contiguous. You probably already know what contiguous means, but quick review, let me just pull open a file for that. Here's two red blobs. If I have my magic wand is set to contiguous. Here's what happens when I select one. So now I'm going to hit the Escape key to de-select everything that's going to be useful to remember if you want to de-select everything to the Escape key. But let's see what happens when I uncheck contiguous. And there we go. That makes sense. You can think of it this way. Like California is part of the contiguous United States, right? But alaska is not because it's got a bunch of Canada in-between. So it just means connected basically. Okay, So tolerance is set to 70, contiguous is not checked. Great. Now let's find the darkest part of the lines on our image to make extra sure I'm going to zoom in. I'm gonna hit Command Plus, that's Control Plus if you're on a PC and yeah, there we go. Okay, I'm going to find a really black part of my outline and I'm going to select it. And then great. So we can see that it's selected all of the black lines in the image. I'm going to now hit Command Minus to zoom back out. And so we can see everything is selected that we want it. The pencil lines are sort of grayish, right? And the graph paper lines are blue, so it didn't select those, which is perfect. That's exactly what we want, but here's where things get interesting. So to color in our image, we're gonna be using layers. Layers are really the bread and butter of Photoshop art. As a Photoshop artist, you are going to be using lots and lots of layers. So here it is. Let's click this button and up pops our layers. So that's right down here. It says Labels. Yeah, you can think of layers in Photoshop like a bunch of pieces of clear glass stacked on top of each other. The lower down ones are at the bottom and the higher-up ones are on top, just like you'd expect. So let's click and make a new layer. So we're going to click this right here. Let me see if I hover over that. It tells us what that tool does. Create a new layer. So there it is. Okay, great. So here it is a totally empty new layer called layer one. Now I'm gonna go ahead and double-click on that layer name and rename it. You can call yours whatever you want. I'm going to call mine line because this is where we're gonna put our line art. And you want to make a layer visible or invisible. Just click this little eyeball icon right here so you can see off, on, off, on, off, right? So you're gonna do an outline that's, that's really useful way to see what layer you're working with. So double-check that our new layer is the one that's selected. You can select the layer just by clicking on it, right? So see now background is selected. Minus selected. Great. So what we wanna do is we want to take all the parts of our image that are selected and fill them in with plain black. Luckily, this is pretty simple to do. We're just going to grab the paint bucket tool over here. There it is. And we just click anywhere at all, doesn't matter where and everything has been filled in black. So great, I'm gonna hit the Escape key, which remember is to de-select. And there we go. So if all you wanted some nice clean black line art, then we're finished here. But in the next video, I'm going to show you how to add some color. Before we move on to that though, I just wanted to address what to do if you're looking at your image and it still looks messy. If your image is already looking good to go ahead and skip on to the next video and start coloring. Otherwise, let's take a look at some things that can happen. Okay, so you've scanned in your image, you've gone through the steps. What if your image now looks like this? Or what if it looks like this? See it and missed out the leaves of our pineapple here. So there's a couple of things you can do. Let's start with this one here. So there's a lot of extra noise. If there's only a few of those like on this layer, then that's okay. We can actually just grab the eraser tool over here. Eraser tool. You can change the size of that down here, right? So in this case there wasn't too much, so I would just take the eraser tool and get rid of it. Great, that's fine. But if you're looking at something a little more likely, you are going to not want to have to go through that, that'd be a huge pain. So the main thing to do here is you can adjust the tolerance of the magic wand tool. More tolerant is going to give you more black, less, will give you less, right? So if we make it fully tolerant, it'll take anything, then it just selected the whole image, right? And if we take it fully zero tolerant than it will only select pixels that are, that are pure, the exact, exact color that you wanted. And that's not good either. So try experimenting. In this case, what I ended up finding was tolerance 40 was pretty good. I generally like to stay at 70 as a first try, but try experimenting with that if that's not working for you. There's also one more trick you can do. If you want a really nice smooth line, you can select with your magic wand. There we go. And then you can go up into the menu up here. And you can click Select, go down to modify and select smooth. I recommend about three pixels if you're doing this. So there we go. And basically what that does is it just smooths out your lines. So if we zoom in here on our pineapple, we can see here it is with no smoothing. It's, it's a little more jagged and here's what it looks like with smoothing turned on. And remember, you do the smoothing there before you fill in the selection with the paint bucket, not after. You wanna be careful with this one also because we're actually altering your arc here. And if you go too hard with this, then you can lose a sense of texture that really makes your drawing unique and your own. But definitely something worth experimenting with. Those tricks can be helpful. But at the end of the day, the best way to get clean line art is to make clean, dark lines when you're drawing and to make sure you get a high-quality photo. Also, to be honest, I don't use lined paper. I did it to show that it can be done. And if at all, if it's all you have, that's totally fine. But blank on lined paper. It's just gonna make your life a little easier. Okay, so that's it for turning a physical drawing into clean digital line art. Thank you for watching, and I'll see you in the next video where we're gonna go from this to this. See you then. 3. Part 2: Coloring in Photoshop: Welcome back. In part two. Here, we're gonna go step-by-step on how to add color to our image. So we have our line art. Let's start by adding a new layer. So once again, it's this button up here, create a new layer. And I'm going to double-click on the name of the layer and I'm going to call this layer color. So let's make sure this layer is behind our line art because we want our color to be behind the line. Okay, so let's choose what colors we're going to use. I'm going to quickly go over three ways that you can choose some colors for your drawing. The first way is using the color picker. So I'm gonna go down here and click on this black square, which opens up our color picker. If you've ever done any kind of digital coloring before, you've probably seen something like this. Basically what we're looking at here is a chart that uses the three primary colors, which in this case are red, blue, and green. Actually, you might have been expecting that third one to be yellow. And that would be true if we were using paint, but we're technically painting with light right now because as we know, a computer screen is made up of 1 million tiny color changing light bulbs called pixels. And for light, the primary colors are red, green, and blue, which you'll see abbreviated as right here as RGB. So let's open up a little color wheel. So we can see our three primary colors here, red, blue and green, and red and blue combined to make purple, blue and green combined to make this cyan to yellowish color. And red and green are going to combine to make yellow. You can see these sort of tertiary colors in-between. You have your full wheel of options. Great, so back in our drawing, Let's pick a color. I want the sound to be yellow, so I am going to grab the color picker. I'm going to use these three sliders here, R, G, and B, red, green, and blue. I'm going to turn red all the way up. Then I'm going to turn green all the way up. Perfect. So we have a pure bright yellow, but I want kind of a golden, orangey yellow. So I'm going to try sliding that green slider back down a little bit. There we go. That seems nice. So in addition to the RGB sliders, there are these three sliders here, H, S, and B. Those stands for hue, saturation and brightness. Let's start with brightness. We can slide our color from its brightest version, up top, all the way down to black saturation. On the other hand, let's slide between the purest, most saturated version of a color down to gray. In this case, that's sort of a whitish, but you can see here with darker colors that becomes just the neutral gray version of that color. Then the third one here is hue. And this just gives you the full rainbow of options to pick from. So you can use that if you want to just pick a color from scratch. So let's get our yellow back. And great. So I'm going to put this here. The second way to pick a color is to use the brush tool like a, like a painter's palette. So I found this yellow. I'm going to use this brush. I'm going to make a couple of dots of it. There we go. Now let's say I want this to be a little redder. I can take my brush and I can grab a red. So I'm going to turn the green slider all the way down, read all the way up. Now I can open up my tool options, which once again is down here. And I can turn down the opacity of my brush. So let's, why don't I set it to 30. And you can see, I can add a little bit of that color here. That's a little too orange, I think so I'm gonna do Command Z to undo. I'm going to try and to less opaque opacity. Here. There we go. Okay, and it's nice. And let's say I want it to be bluer. I just need to grab that color instead. I've got blue. And I can add that. It's a nice way to get a similar group of colors if you want to color scheme that's going to harmonize. Well. Finally, the third way to get a color for your images to use the eyedropper tool. This is a tool you're gonna be using all the time. It's right over here. I'll just hover over that so we can see the name, the color picker tool. I I think it's called but looks like a little eyedropper. And what that tool does is it lets you click on an existing color and use that. So if I want to go back to my original yellow up here, I click it and you can see that's now my active color. So what this lets us do is we can bring in a color from real life and we can use it in our image. So let's say I want to just Google the sun, right? And I can just copy and paste. So I'm just using Command V there. And you can see it came in as its own layer. If I put that above the line, you'll see it covers lines now behind as you'd expect. So I'm just going to grab a nice yellow from here. There we go. A word of warning for this method though. Just remember that things don't always appear in photos to be the color you'd expect them to be. Sometimes things are in shadow, sometimes they're under colorful light. The context and lighting makes a huge difference. But that said, the eyedropper is really useful. I use it all the time for things like skin tones and hair colors, especially just remember not to trust it completely. You have to double-check the color for yourself. If you're red-green colorblind like I am, that might be disappointing to hear, but remember, you can always check the color out in the color picker if you're not sure what color it is. So you can look in here, right? And you can see what the RGB values are. You'll notice also there's two of these little squares. These are called the foreground color and the background color. And you can switch between them by pressing the X key on your keyboard. So that's just a useful way to have two colors. Available at once. Okay, So we've picked our yellow. Let's go with that original one. That's gonna be our main color here. Now let's fill in the sun. So you might be thinking, Hey, I know the pink bucket, why don't I use the paint bucket, right? Just go like that. But that's not actually a great idea. I'm going to undo. We want to keep our lines isolated on their own layer. That's just going to keep our options open if we want to add any shading or change our mind later about the color we picked. Also, if we zoom in here, we can see here I'll refill it again. We can see it leaves us with these ugly little gray parts where a color meets our line. And I know that's pretty subtle in this case, but it's just one of those small things that makes your art look a little less professional. So there's a few things we can do instead. First and foremost is the brush, by the way, shortcut I just used to zoom back to normal level is command zero. So Command plus zooms in, Command Minus zooms out and Command zero just fits in nicely to the window. So the brush, this is going to be our main tool for digital coloring. Here it is. Over here we'd been using it and it works just like you'd expect. You can change the size, like we talked about. You can change the opacity. So if we want, we can just fill in our sun using the brush. If you have a mouse or a drawing tablet, this is gonna be pretty easy to use. Personally, I am using a whack them into a tablet, but you can do this with a mouse or even just with your laptop touchpad. That said this is obviously a little time-consuming. So how do we get the equivalent of the paint bucket for that? We're going to return to the magic wand tool. So let's go over here. I want to start by just filling in the whole sun, plain yellow. So I'm going to check that contiguous checkbox which you remember from part one. I'm going to select all the parts of my son. I'm going to make sure that I'm on the right layer. If I'm on the color layer, then it will just ignore the sun. So I'm gonna be on the line layer and I'm going to go through and I'm going to check all the parts of my son. I'm going to select all of them. Gotta get his teeth, raise their hand, water bottle, sweat drops. Okay. I think I got everything there. So now I can go to my color layer and make sure I'm not screwing up my nice clean line layer. I want to keep that by itself, but we're still going to get that problem of those little pixels, the gray lines between the line and the color, we don't want that. So there's a simple way to fix that. It's buried up here in the Photoshop menus. And that's this. We're gonna go to Select, Modify, Expand, and that's going to expand our selection. I recommend going by about three pixels, but that's working for the thickness of my lines. So experiment and see what works for you. So we can see the whole selection just expanded by a few pixels. So effectively, the outlines got a little skinnier. And now the part where the color finishes is going to be under the line, so we're not going to be able to see it anymore. And that's going to fix that little ugly aliasing problem for us. So I'm gonna just go ahead and grab my brush. I'm gonna make it really big. There we go. It's 1,000 pixels. And I can just draw in here. And we see it only affects the parts that are selected. You'll see I missed a few spots. That's totally fine. I'm just gonna go in with my brush and get those. So there we go. And here you can see why it's important for the line layer to be in front of the color layer. Otherwise we would get this. This sort of shows you what the Expand tool did. It made our color a little bit bigger than it otherwise would have been, but that's fine because it is behind our line layer. I also accidentally selected part of the drawing that shouldn't have been selected right here under the sun's armpit. And we can see why that happened. There's a break in my line art ray here where the paint bucket sort of leaked out. And this happens all the time. Not all line art is going to be made up of closed shapes. In this case, I'm just going to take the eraser tool and don't forget to make sure that your color layer is selected here. If you're not selecting the right layer and nothing is going to happen when you use the eraser. But what if there were more of those gaps and my lines? Well, you really have two options here. One is to draw with this problem in mind and make sure that all the parts of your drawing are closed shapes. Other and this is what I recommend is to lean less on the Magic Wand tool for coloring and more on the brush tool. Using the brush really is the right way to do it. And having a shortcut is great and there's nothing wrong with that. But in my opinion, at least, I don't want to be making changes to my drawing style just to accommodate what I see as a shortcut. So I've got the brush tool can seem tedious, but once you get used to it, it does get much quicker, especially if you have either a mouse or a drawing pad. Okay, so we've got a yellow sun looking good. In the next video, we're going to talk about adding in some detail and getting the rest of the way to the final image that you see here. So I hope you'll join me for that and thanks very much. 4. Part 3: Review and More Coloring Tips: Hi, welcome back again. In part three here I'm going to walk you through my coloring process and show you how we go from this image to this more finished one. This is the last part in this course on digital coloring in Photoshop. So far we've learned how to import a physical drawing and turn it into usable line art. We've covered a little bit of color theory and how you can mix colors in Photoshop. And we've talked about how you can use selection tools in Photoshop like the Magic Wand tool to save time coloring in your line art. So to wrap up, I just want to walk you through how I use those tools when I'm coloring in Photoshop. Okay, so we're starting here more or less where we left off in the last video, we can see the sun here is fully colored in, but just in one color. So we're going to start by adding in some details. I want to give some color to these sunglasses here. First, I'm going to make a new layer here. And here's how I'm gonna go about picking the color. I want something that's going to give us some contrast with the color of the sun. So I'm going to take that, I'm going to try something here. I'm going to invert that color. I'm gonna do Command. I says the most contrast which we could possibly have. I think that contrast is going to be a little too sort of glaring. Yeah, I think, I think so. So what we're gonna do is I'm going to open it up and I'm going to add a little green in there to make it a little less harsh of a contrast. And I'm going to desaturate it just to make it a little less brightly colored. Maybe a little darker as well. There we go. Okay, so this seems like a nice color. I can erase this test blob I made. And I'm going to zoom in a little. I'm just going to take my brush and I'm going to fill in these sunglasses. So here we go. Then I might use a little time-lapse here just to speed it up. But of course, the real thing does sometimes it takes a little bit of patients, okay, so we've got the frames colored in there. Let's get the lenses. I want these to be sunglasses, so I want a dark lens. And what I'm gonna do is I'm just going to take the yellow sun color. I'm going to open it up down here, my color picker, and I'm going to turn the brightness way down, way down so that we have some nice dark sunglasses. So there we go. And my reason for doing that is just because since they come from the same color and it's just different brightnesses of it. That helps me think that those are going to harmonize well together. So you can see at this point I've made a couple of different layers for my color. That's just out of convenience. I could've done those all on the same layer, but it's kinda nice to keep them separate. So I'm gonna go ahead and I'm going to select all of them. So what I did there was I just clicked one and then I hold down the Shift key and click to another one. They're all selected. Now I'm going to put those in a group together. So you can see this icon right up here. Create a new group. There it is. I'm going to call that color. So rather than just having one layer called color, I'm going to have a whole group of layers. And here's an example of how that can be useful. I want to add a little bit of a shine effect on the sunglasses here. So I'm going to shrink my brush a little. I'm gonna go back to this yellow and I'm going to use the saturation slider to make this a really pale desaturated yellow. And I'm going to use that to create the effect of glare of light on the sunglasses, lenses. But to help give that a little bit of a sense of depth and realism, I'm not going to have the whole line be fully opaque. So I just turn that layer off and I'm gonna make a new one. But this one, I'm only going to get these parts of the sunglasses. Then what I can do make them both visible again and just turn down the opacity of that layer. So every layer has an opacity That's right up here. Zero means it doesn't show it all. 100 means regular. Let's make that, make that like 48% and make the other one somewhere around 80 or 90. Yeah, it looks kinda, it's kinda nice. So I just create a little bit of a sense of shading there of multiple colors. Alright, What else do I want to do? I think I want the teeth to be a little brighter. I don't necessarily want them to be fully white, but what I'm gonna do is I'm just going to take of fully white brush. I'm going to color them in. Go ahead and use the time-lapse here again. And you'll notice in the time-lapse I am using the Select, Modify, Expand to expand my selection a little just to speed up telling him get him in. You'll also notice I am not naming all of these new layers. And that is a little bit sloppy, to be honest. So I'm gonna go and name those. You don't need to name all your individual layers. But I find it just makes things easier sometimes. So this is something you'll see digital artists talking a lot about is that ideally you want to keep all of your layers really organized and named and everything, but it doesn't always work out that way and that's fine. So I'm going to take my teeth layer and I'm going to turn down the opacity a little because I want a little bit of that bright sunny sunshine to shine through. There we go. So there you can see it's useful that I had the back part already colored in yellow. So that's looking pretty good. I think these water droplets, Sweat droplets wherever they are, those should be blue as well. I think I'm just going to stick with this blue that I already have for the sunglasses frames. I'm just going to take my brush and I'm going to color those in one at a time. That's maybe not the best blue actually, I'm going to rethink that. I'm gonna go ahead and change this color. I'm going to make it a little bit of a lighter blue. So to turn up the brightness, a little, turn down the saturation, add a little more blueness, takeaway, some redness, and a little more green. There we go. We've got a water ear, clearer blue. I don't have to redo all of these drops with my brush. I can just take the magic wand tool uncheck contiguous, right? I don't I don't care whether the drops are contiguous with each other. And there we go. Now, I can just take my brush and really quickly change out that color. One thing you will notice sometimes you can see this is subtle, but I'm going to take my eraser and clean that up a little. That kind of thing happens sometimes. Let's use that same color for our water bottle down here. I'm going to use a bigger brush since this is a little bit of a blunt or bigger object. Okay, great. I also want the face of the sun to be a little bit like orange and fire ear than the rest. So what I'm gonna do is I'm going to take just a pure red, fully bright red. And I'm going to start coloring in that face. Although for this part actually I don't need to color it in manually. I can just select my line layer, use my magic wand, make sure I get, oh, I forgot to check contiguous, easy thing to mistake with the magic wand. So I'm gonna make sure I'm selecting all of the parts. I'm going to select, modify, expand by three pixels. And now I can just color it all in like that. So missed a few spots. That's okay. I'll take my brush. There we go. And I'm going to turn the opacity way down here because this is such a bright red, I think even just like 15%, maybe a little more, about 20. How does that look? Yeah, that looks pretty good. Okay. I'm going to stick with that. Okay. So we're looking pretty good here. What are we looking at here? What's this little detail supposed to be? I think that was just to sort of add some texture to this line. But I want to do something a little different with that. I want that to be yellow instead of black because I think that's going to create that texture effect a little better. So let's make our line layer invisible. Let's make our color invisible. Let's go all the way back to our first drawing. And let's do what we did earlier. I'm going to select just this part and I'll make a new layer and I'll call that yellow line. I'm gonna make my color part visible again just so that I can borrow this yellow. And I'm going to fill that in here. Let's see how that looks. Pretty nice, I think, but hard to tell until we erase this line. So I'm going to use the eraser and I'm gonna get rid of this part. I'm gonna go ahead and make a copy. Before I do that though, I'm going to right-click on the layer and I'm going to say Duplicate Layer, line copy. I'm going to make that invisible things. You want to have that as insurance in case I don't end up liking how this looks. Alright, so there we go. I think that looks pretty nice. I think that worked out well. So let's pick a background color. I'll just call this layer background. And you can see my layers are always already starting to get a little disorganized. That's okay. It's not really a big deal. Background layer. Let's see what do I want? I think I want to base it off of the sunglasses frames, but I want to kinda create a new angle to this color harmony. So I'm going to add in a little bit more red, make this a little bit purpley almost. And I'm going to take away some green and I'm going to make it darker because of all our colors in the foreground are very bright. And so I think this is going to provide some nice contrast. So there we go. Alright, I've added that in, and that is making it a little bit clear that I have some parts where I was a little sloppy. You can see around here it happens. So I'm going to find out what layer those are on. And here's an example of why it's helpful that all my layers are named. I can tell it's this back layer, right? Double-check by making it invisible and visible again. Then I'll just take the eraser and clean it up. Here we go. Going to use a slight time-lapse, but it's only like less than times two, to be honest. So this really doesn't need to take too long. And the more you get used to it, the quicker it will be. So how are we looking? Raise, I think this looks pretty nice. So I'm gonna go ahead and call this finished for now. Although part of the great thing about digital art is if I want to come back, if I want to change anything, I always can, for instance, even just looking at it now, I just noticed little bit of sloppiness over here. I'm gonna go in, select my drops layer and just clean that up with my eraser. Okay, so the last thing I wanna do is I just want to save this as an image. So I'm going to say File Save As I could also export it, but File Save As is going to work. I'm just going to save that to my desktop. And I don't want to save it as a Photoshop file because a Photoshop file as a project you're still working on. It's not a good way to share an image online or send it to a friend or anything like that, right? You don't want it to be a dot PSD Photoshop file. Instead, I want it to be usually either a PNG or JPEG. Let's go for a PNG. I like PNGs because they are able to have transparency in them. They're a little bigger than jpegs. It's really just a question of preference. And I'm going to call this raise logo color dot PNG. And I'm gonna save that on my desktop. Save PNG options. Don't worry about this too much. I'm just going to say, okay. And now if I minimize Photoshop here, where is it on my messy desktop there it is, raised logo color. I can open it up and I have it as a digital image. So for instance, if you've been working on your own project and you want to upload it to Skillshare to share with the rest of the community taking this course, we'd love that. Just go ahead and save that as a JPEG or a PNG and you can upload it online. So that's sort of my process. I wanted to give you a little bit of a sense of how I, how I color in Photoshop. A lot of times I'll go back and I'll, I'll mess with these opacities. So for instance, maybe I think these sunglasses are a little too, they stand out a little too much. I want to make them blend in a little more. I'm going to make them a little bit less opaque. That's too much, I think. What about this? How's that look? Maybe I want to change this opacity a little. Maybe, maybe I think this is kinda fun, right? So it's, it's, one of the great things about digital art is that you have no limits to how much you can go in and tweak it. Of course, that can also become one of the traps of digital art. You can find yourself getting a little obsessive, but that is a question for another time. That's just a little insight into my process. There we go. Welcome to using Photoshop as a digital artist. Hope you found this helpful and remember, you can upload your finished project to this Skillshare course to share with me and any other artists taking this course. So once again, I'm John Goodman. You can see my art portfolio and some of my other work on my website at John Goodman dot io, that's J0 Hn Goodman dot io. Thanks again for joining me and I hope you keep experimenting with Photoshop. There's, there's so much more it can do. And I've found it to be a really powerful tool for making the things that I like to draw. That's all for now and see you next time.