Transcripts
2. Welcome to the Class!: - First of all, - I just wanted to say thanks to everyone for enrolling in this class. - It's really cool to get to connect with you on this level, - and I really hope that you enjoy the class and you learn some new things that you can - incorporate into your own artwork. - So for our subject matter for this class, - we're gonna be illustrating a mandala design, - and I chose. - This is our subject because I think it's gonna be a great practice tool for any skill level - I wanted to create a class that would allow everyone to get a sense of how fun it can be - . - just to draw something without having a whole lot of thought involved. - So just to give you a little bit of background, - the word Mandela is a sense, - great word for circle, - and it represents the universe. - It's a spiritual ritual symbol used in Hinduism and Buddhism to establish what's called - sacred space, - and it's used in meditation or trance induction, - which is sort of what we're aiming at here. - But with the help of photo shop in a graphics tablet, - we can get a little bit of a taste of this and create something very beautiful pretty - quickly, - without the years and years it takes to perfect, - hand drawn symmetry. - And I think that you'll find with practice that your best work will come from a place where - you get to stop thinking so hard and just start drawing something. - Even after all these years, - my absolute favorite thing to do was still just to put on some headphones really loud, - tune out the rest of the world, - dim the lights and just draw something for hours and hours on end. - And I hope that this exercise is something that you guys will really enjoy. - And perhaps you'll surprise yourself with what you're able to create. - Also, - just to mention for my process. - While I'm drawing, - I've gotten really addicted to listening. - Teoh Audiobooks in podcast really helps the time pass. - I'll also listen to music and ambient sound on also something recently I've gotten into - called by neuro beats. - I posted some links into the resource is section. - If this is something you guys want to try out and it works for you and you connect with a - great if not, - don't worry about it, - I just thought I would put it in. - There is. - It's something that I enjoy. - Um, - and also, - just so you know, - I'll be working on my walk in sin Teak 24 HD tablet. - But anything that you've got any graphics tablet will work fine for this exercise. - All right, - well, - I'll stop rambling, - and we're gonna get right into our first phase, - which will be creating We'll set up a template file, - and this is gonna make our sketching phase go much quicker and be much more enjoyable. - All right, - so let's get into it.
3. Setting Up Your Template File: - And so it begins. - We're here in photo shop. - I'm using Photoshopped Creative Cloud, - but older version will work. - Fine. - I've got my welcome Tablet ready. - So let's go up to file new Uh, - let's make this, - um said it two inches here. - So we're all on the same page. - Let's make it 18 by 18. - And let's set our resolution here just toe 1 50 as were sketching. - Keep the background at white, - and we'll name this mandala it okay, - And now we're going to be creating Here is a template file. - And the best way to get started here is we're gonna create some guides toe help us along - with our sketch. - So also, - like Teoh, - step my view to full screen. - So weaken be more free here to move it around. - Um, - turn on our rulers so we can pull some guides. - If you select your entire canvas and you hit command to your control, - T um, - you conciseness app your guides right into the center. - Let's grab another one. - It's gonna be at nine. - And nine since we're at 18. - You can see that's precisely right in the center. - Um, - just hit, - okay? - There in de select. - And now we're ready to start drilling our circles. - Um, - let's go over here and create a new layer layer one here. - I'm just gonna call this circles and these air going to serve as our guides for when we're - drawing or sketch here. - Um, - so let's click right on the center point here. - So we're clicked right in the center. - Point on, - and I'm holding down option and shift, - and I get a circle that's pulled right from the center. - And once I got that, - release it and then go to edit stroke and I'm gonna choose an eight pixel stroke and let's - put it on the outside next. - Not all of the Photoshopped versions have this. - It's pretty handy. - You can keep drilling if you don't have the newer versions here. - You can just keep drawing the years selections, - but we have transformed selection. - Hold down option and shift. - Let's, - um, - create another circle here. - Um, - I'm gonna be creating a bunch of circles just so that I have a bunch of guides still work - from, - and we can always create more later. - So let's just hit, - okay? - They're gonna go at it. - Stroke eight pixels again outside. - I'm gonna keep doing this a few times, - so let's just create a bunch more here. - It doesn't have to be exact. - I just kind of eyeball it and create a bunch of them, - and we can use them as needed at it. - Stroke. - All right, - so that's our circles here. - I'm gonna actually make a new layer here, - and I'm gonna call this our sketch layer and this one. - I'm gonna do the stroke at its stroke. - Um, - eight pixels there. - And if you click on the circles layer, - let's change this opacity. - Let's get away, - down. - We just want it to be used as a guide. - So let's make that 15% might make it maybe even less like 10%. - So now that we've got our circles set up, - the next thing we want to do is also create some lines to guide our sketch. - So let's create a new layer is calling this lines. - Call it lines, - and we're gonna use this over here. - It's called Thesis Ingle column Marquee tool. - And if we click this right in the center, - right on our line here, - um, - I can fill that with black and I want this to be two pixels so that we can get it right in - the center. - So I'm gonna move this over one pixel, - and I'm gonna fill it again. - So now we've got a line that could be right in the center. - Turn off my guide. - I can see it there. - Another thing that I'm gonna do here is zoom in. - And, - um, - I'm going to scale this a little bit, - and I'm holding down option so that it can grow taller and option will keep this right in - the center, - which is important. - Okay, - Hit. - All right, - it OK, - They're on. - And I'm gonna duplicate this layer. - If I hit command T control T on the PC, - we can see. - Since we hit option there. - This is right smack in the middle of our drawing of our art board. - So I'm gonna hold down, - shift and spin This, - um, - at 45 degrees, - you know, - we could actually do is punching here. - Let's do negative 22.5. - Get okay. - Twice. - And then I'm gonna duplicate that layer again and it transform. - And now I'm going to set this at 45 degrees it okay twice going to duplicate that again. - Transform. - Put that at 22.5. - Okay, - there. - I'm gonna merge a couple of these here. - Make this go faster. - So duplicated again. - Transform 22.5. - Actually, - since we have to, - we can do 45. - Duplicate that layer again. - 45. - All right, - There you go. - You can see we have some nice guides. - That air coming right out of the center and we can merge all of our lines. - Toe one layer, - keep everything clean. - And I'm gonna put that under the sketch, - and they're gonna set that to 10% as well, - so we can see it. - It's there, - and we can use it as a guy. - And you can use this file over and over. - If you want to make more mandala drawings, - you can save this as your template, - so you don't have to do it every time
4. Sketching Your Mandala Concept Part 1: - All right, - so now it's time to have some fun here. - Um, - I'm going to start on my sketch layer. - Let's turn the screen mood back to full screen, - um, - on the sketch layer. - I think I want my circle just to be really small. - Start out with Let's just do, - like, - a little dot And you can kind of start your drawing out however you like, - um, - I'm going to start out with some basic lines. - Teoh, - get that piece going. - You could start out with circles or dots or squiggly lines. - Whatever. - Whatever comes to your head is going to start drawing here and see what happens. - So years doesn't have to look like mine. - You know, - you can watch watch me and then just go on your own instinct. - So let's start out here and just draw some lines. - Um oh, - yeah. - To talk about my brushes that set up here, - you click on brushes. - I just created a simple brush that I use for sketching. - You can see here figure over the window brush. - Um, - I just created a new brush. - Um, - it's got no hardness on it. - Um, - it's ah, - the shape dynamics. - I clicked Yes, - you're seeing here. - I just turned on pen pressure. - Um, - I didn't mess with any of the rest of this, - and I just click transfer and smoothing. - Um, - and transfer just clicked. - Pen pressure on bond. - I can put these screenshots online in the resource is but nothing fancy. - So click on the brush over here said the capacity to 28 I turned this on which allow the - the pin pressure Teoh control how dark your lines are. - So let's just get started. - I'm in sketch layer on. - Gonna just be drawing some lines. - You can really draw any size lines you like mind set at seven pixels right now. - So it's just fulsome lines here. - And so you can use the reason we created all of these circles and lines so that we can you - know, - you can use the same. - We can make sure we're symmetrical every time we're working. - See, - I just would have missed. - So let's just draw some lines or whatever shapes that you feel are correct. - So once we get this, - I'm thinking maybe one another circle when it would never have a circle. - It's just easiest to, - um, - draw a circle this way. - We need to go around and try and do a perfect circle on your sketch ago at its stroke, - give you but this at 50%. - Then, - um, - here I was thinking about it's kind of create a interesting leaf shape. - Did you want to try and just get it similar on both sides here? - And as you do it, - maybe you decided that you wanted toe shape a little bit differently. - I'll set my eraser to the same brush as well. - I set that up exactly the same way, - said the capacity down and it just kind of into more of a light natural arranged erasing - that harsh and drawing this way and just sketching shapes. - I think it would be really good practice. - You know, - there's really no pressure. - You're just kind of drawing shapes. - All right, - So once you got the first row leaves going, - I'm kind of even Amount are just turn off these guides. - You can always turn off your circles to just to kind of see what you got going on here. - It's gonna true it up if you need to. - It doesn't really matter at this point. - Really. - Um, - it's just gonna help you see what you're doing. - Um, - so yeah. - Then just start kind of working off of that one. - You know, - maybe I don't even want this circle anymore. - I don't know. - Do something more like this where we connect down with this line, - maybe. - Do you want to start it? - This one here created Double Leaf. - Yeah, - maybe just take that all the way around here. - We'll start it out with just one. - Let's go ahead and will start at this point. - And then we'll put it up to this point using that. - It was two guides guide in the center. - Same thing here. - This way. - Yeah. - And then maybe we'll do is kind of bullet Ingle. - Bit of an angle. - Maybe we'll do a circle, - - someone - to get into, - like, - these bigger areas, - and we're gonna start detail ing it out. - Actually, - you know, - you could draw them all by hand. - Um, - repeated all around. - That's good practice. - Um, - or if you want to skip to the short cut, - um, - you could kind of just draw the areas a couple of sections here, - which I'll show you how to do, - and then we'll just copy and paste rotate duplicates. - But I like to see how the whole drawing is coming together. - So I kind of just kind of zone out and keep drawing all these things. - Just a little pattern in here, - and you can make your designs as complex or simple. - Asi like on you hear a lot of ambient noise out here. - I'm downtown in the studio, - so you'll hear cars and motorcycles and drunk people walking by. - So I kind of had a, - uh, - ty style flame in mind on this one. - I'm thinking of making a bit of an eyeball shape, - and I dropped sometimes Here, - um, - So I'm just gonna pull, - uh, - Circle center here, - and I'm gonna go at it stroke. - And let's just make this one texel so that we can draw on top of it. - I'm just gonna use it for my guide. - It looks the same. - Put another circle here. - So, - you see, - I'm kind of focusing in on one area rather than going all the way around kind of liking - what's going on here? - So I think I'm just gonna, - um, - drawing this section of it, - and then we can duplicate it.
5. Sketching Your Mandala Concept: Part 2: - So what I'm gonna do next year is a little trick, - Teoh. - Just kind of duplicate this around, - get, - like, - one area that's working. - Well, - turn off the lines and circles and let's hit command shift. - See which is gonna copy, - emerge that it's gonna copy some white as well, - and then we're gonna paste in place. - And that was turned these back on. - You see, - I'm gonna put these lines right on top here. - So our new one, - we're gonna hit command T. - And let's, - um, - with that right in the center again, - if I hold down shift, - I'll get my 90 degrees. - So our layer here, - we're just gonna duplicated again. - Make sure that's right there in the center. - Slip it around 90 degrees. - All right, - so now we're starting Teoh. - See the pattern here in the circles? - Um, - I'm just gonna emerge this sketch layer, - so we're back toe one simple layer, - and I'm just gonna continue some of these lines. - So we got a complete circle. - That's where it gets fun. - It starts to kind of come together. - You can see if it's working there, - make some adjustments. - Okay, - So there's some shapes starting to emerge on the inside that I think are pretty interesting - . - We can take this circle, - maybe to start carving it out, - maybe make some more teardrop shapes in there. - All right, - So, - like I said, - this is starting to kind of look like an eyeball here, - So it's a little highlight I was gonna match. - And it's really just all about using guides using, - you know, - keep in your mind open and seeing what kind of shapes and of appear and just filling the - men and seeing what works. - See what looks good and then copying and pasting whenever you need. - Like I can see now, - um, - probably want to put some more of these shapes. - And so it's just them. - Grab this guy here, - copy my sketch layer in a paste it in place and then turned back. - My guides throw that right in the center and I can duplicate those. - It's 45 degrees, - duplicate him again, - slip it and I can see I need two of them. - I'm gonna merge these two layers. - All right, - so now we got some room in the middle here to draw some shapes. - I'm just kind of come up with some new shapes and then repeat him around. - You go to this line this back down so we can sketch thinking some more leaf patterns might - be cool. - Turn off our guys. - We can kind of see it's starting to come together here. - Pretty interesting shapes. - Looks like when you need something. - Here's well, - so cool. - Another kind of fire Shape up and you can constantly tweet there other shapes to kind of - mess around with it and picked the area that you think is working the best later on. - You know, - you don't have to stick to anything you don't have to hold. - Anything is too important, - really just were in the sketching stage. - So feel free to a race and start over. - Do it as many times as you like, - but just you just keep trying. - So another thing that you could do once you start kind of getting to, - uh, - the end of your page, - what I do. - A lot of times, - I'll grab my sketch the whole layer here, - and I'll just hit command T. - And then once again, - I will make sure that the center point is right here in the middle of our guides and then - shrink it down and give a little bit more room to keep trying. - And you could keep doing this for a long time and keep getting bigger and bigger and more - complex, - if you like. - But remember the low rez sketch right now So you don't get your lines to get too small that - we can keep drawn. - Let's go ahead. - And, - uh, - copy this piece that we're working on here. - All right, - so it's gonna select it. - Copy it. - Pasted in place again to Manti. - Throw this right in the center that there you can see we're at 45 degrees. - Exactly. - E go. - So now it's more funding drawn top of us and see, - we're connecting. - So let's just, - uh, - merge those layers and like to keep it simple one layer skitch.
6. Sketching Your Mandala Concept: Part 2: - So now we can kind of charity. - See what looks good here during another circle. - - So - to get this exact it always just copy this one. - We want to match it up right here, - and then we'll do edit, - transform the horizontal. - On we go. - That's better. - You can see we're getting kind of starting to be a little more symmetrical here. - Emerges to sketch layers again. - Just kind of fill in these spots here that are lining up. - All right, - so starting to get somewhere here, - just fix that real quick. - Highly back. - I'm all about planning. - I'd like to have a really good plan in order. - A lot of my sketches end up looking the left very similar to the finished piece, - because I kind of want to know what it's gonna look like. - And I want to have it all in order. - All right. - So I think I'm gonna end it there, - So let's, - um Let's grab some sections of this here, - um, - turning this back on what we could do. - Now, - since we've been really working on this section, - let's go ahead and has a little bit more here. - I was gonna fill in some blacks here on a little more contrast to the design way. - Really? - Only have two you have to do. - All of these were gonna copy and paste. - All right, - so you can see here. - We just got a select Can they use are simple lines here that we created to make a selection - . - Um, - I'm gonna turn out my guides and command shift. - See for copy. - Emerged man shift V for paste in place. - I don sold down shift. - Just duplicate this. - Let's make another one duplicate. - Transform. - CenterPoint. - Rotate now, - like emerges to to get multiple duplication Duplicate layer shift. - Hold on. - Shift and weaken. - Spin it. - It's really kind of turning doodles of nothing into something pretty cool that this thing, - it's really fun to watch a design kind of come to life when you really didn't have much in - mind the first time or when you started. - I have seen the one again to man shift V commits a command ship. - See command shift V and Centrepoint again on There we go. - All right, - so we got a pretty cool sketch going here. - Um, - hope you enjoyed watching that process. - You can always go in here and refine it if you wanted to. - You could put this on a transparent layer and keep drawing on top of it until you get it - over and over until you really like it. - Um, - I think I'm about ready to move into the next stage so we'll see in the next unit.
7. Outline Your Sketch: Part 1: - Okay, - so in this unit, - we're going to start outlining our sketch. - Um, - the first thing that we're gonna do is grab all of these sections in the sketch and merge - them down. - So just click merge layers. - Um, - and in you may, - at this point, - you may want to save your file so that you can have a just a template file for future - drawings. - So you could say that you can throw away this layer, - but we'll just move right along here on day. - Um, - we won't need the circles anymore. - So I'm gonna throw that layer away, - Um, - and so that we can see our sketch, - but be able to draw over the top of it with black lines. - I'm gonna make a hue saturation adjustment layer. - So still a few saturation click colorized, - said the lightness around the 90 area, - um, - saturation, - 200%. - And I like to use ah, - blue color to draw on top of you can use any color you like, - um, - and we'll want to use We'll keep the lines here. - I'm just gonna throw that behind the A. - Pass it so we can see it there. - Um, - but so as you've guessed we're only gonna be actually inking or outlining this section - right here. - And then we'll be able to flip it around and save a bunch of time. - So let's, - um, - start a new layer. - And, - um, - if you remember, - we we only made this 200 d p i to begin with, - um, - we're gonna want to pump up the resolution at this point for for drawing for outlining. - So, - um and this will depend sort of on your computers capabilities. - How much ran you have, - but I usually like toe work at at least 600 d p. - I. - And if it's a little bit too slow for you, - you can you can set it at 400 or something like that. - But the higher the DP I hire the resolution, - the cleaner your lines will be. - And when you zoom in it, - it will look pixelated. - So just up the size here, - Okay, - Now we've got our 600 GP I file the first thing that I'm going to do it. - I've got some circles in my design, - so, - um, - I'm actually just gonna use the elliptical marquee tool to draw some circles. - Um, - make that easier, - so we don't have to do it by hand. - Um, - clicking regular on the center point holding an option and shift. - You go to edit stroke knees, - E seat. - At this point, - we've We've made our file bigger, - so we're gonna want to use the thicker line, - so we're gonna go to edit stroke. - Um, - let's do 16. - Yeah, - that looks pretty good. - So I'm going to go to select transform selection, - inner circle at a stroke, - and, - um, - on another layer, - I've got these other couple little circle spots that I'm gonna just select real quick, - and it stroke 16. - Select. - We're gonna transform the selection. - That one at its stroke. - Throw this one on the inside. - Okay, - so that's ah, - battle circles. - Exact circles that we're gonna need. - So, - in this, - um, - this drawing exercise, - we're going to be using a pressure sensitive hard brush and see, - here it's 100% in the hardness. - Also in the brush settings, - which I'm gonna post this in the project here so you can see in Munich my brush settings - click on shape dynamics, - underpin pressure or under control. - It's that select pen pressure. - Um, - so that's basically if you just set up your brushes this way. - It's nothing too fancy here. - I'm also clicked. - Smoothing? - That's just going to give us a, - um, - brush it similar toe kind of working with a Sharpie or like a pressure sensitive brush - marker. - All right, - so, - um, - just to kind of, - ah, - race some of these areas that I know I'm not gonna need to get rid of. - These lines can emerge those layers and then another layer here, - I'm going to start drawing. - Um, - And again, - we're only gonna need Teoh in my design here. - I've got this kind of squiggly shape. - It's not exactly If I had it right down the center here, - we'd actually only need to draw this section. - Um, - so I'm going to draw half of this, - and then I'm gonna flip it over, - and then I'm just gonna add in the kind of squiggly section that we've got here is Well, - so, - um, - make this outline layer one on line two. - All right, - so now we're just gonna start drawn. - And since we did our stroke at 16 pixels, - we're gonna want to do the same thing here. - So, - um, - either type it in or you can adjust it depending on how you have your tablets set up here. - But since we're at a 16 pixels, - you kind of take that in and create a a new brush. - That's 16. - In that way, - it will stay there, - and I use the same brush for my eraser Tool is going to be a hard brush. - That's pressure sensitive. - So in a race, - All right, - so here we're just gonna want to be very carefully outline our sketch. - This will, - of course, - take practice. - Teoh, - get your lines exactly straight and how you want to. - But just keep, - keep working at it. - Keep drawn it. - This is a great practice tool to get your lines the way that you want them. - And whenever you don't get like an exact point here, - it's always the great thing about the tablet years. - You can always zoom way in and you can finish it off perfectly. - Just erase it to a nice point here. - Since we're only really drawing little sections of this, - we can get pretty critical with it and spend some time getting our lines looking really - good
8. Outline Your Sketch: Part 2: - Okay, - so I'm going to save some of these patterns for the next step here. - But right now we can go ahead and grab this outline layer. - I'm just clicking on it and holding down shift and duplicating it. - Then we're gonna transform horizontal. - And now we've got another section here. - I can see it lining up pretty good. - I'm gonna go ahead and merge. - These two saves us a little time, - but we want to go in here and fix things that aren't exact. - So let's create a point here. - It's racing a little bit further. - You zoom in here, - you can get a nice and crispy point to move gaps. - Just a note. - If you enjoy using Illustrator, - you could also outline the cell with the pen tool and illustrator and do it that way and - have some nice vector lines. - I do. - That sometimes is Well, - I just wanted to kind of show how you could keep this all in photo shop. - If you like to do it, - an illustrator feel free to do that. - And then you could copy and paste it back in here. - And then we could shade and color in photo shop again later, - however, - you like toe work. - I just kind of I like just drawing with my pen. - So, - um, - I tend to just use Photoshopped whenever possible, - but either one work. - All right, - so now we've got this pretty much outlined. - I like to put my patterns in any black, - um, - thinking on another layer. - So let's just call this lines and then, - um, - gonna make another layer here, - put it under the lines, - and we're gonna call this patterns. - So on the pattern layer, - if you've got any patterns in your design, - um, - you can put those here and notice. - Here's sometimes it's it's easier if you just select inside the lines When a select here, - I'm just gonna go to select, - modify, - expand, - do four pixels, - insider patterns, - layer It said the steel big brush here. - This kind of just helps to stay inside the lines and be a little freer when we're drawing. - Seem inside here. - We can just fill who to that one. - Yet I made in action for the expand. - And when you're filling areas like this, - you want to make sure that, - um, - your points actually are filled as well, - so you can see Now, - um, - it's not gonna be filling this section here. - Was that in this in? - And I'm gonna fill that in the pattern pattern layer quickly in my lines to make things - easier. - So I can select this. - I'm gonna make a little line right there so I can select it. - Expanded. - Then my patterns layer Indra these patterns. - Okay, - now that we've got those patterns in place, - de select everything and then just, - uh, - duplicated flip it presentable. - Then in match it up, - emerge these two layers to keep everything as clean as possible. - Just filling in these sections that are different and gonna go and select. - It's these areas here, - and we'll just filling spanned. - I feel Explain that. - And then you'll see I'm hiding my selection whenever whenever I'm drawing in here. - Because it's just easier to see of this program. - My tablet with a command h um really useful toe hide selection do not a lot pretty good - filling any extra lines that you've got. - Okay, - so now we've got our peace outlined. - Looking pretty good. - Um, - seeing spot here that I want to touch up. - Just take a once over. - Look at everything. - Make sure you like it? - Because that's gonna be the foundation for the rest of the peace. - Much easier to do it once than a bunch of times. - And we'll see here. - I want to add in these patterns down here as well. - I forgot to drop those. - And so I'm gonna make another pattern layer. - Let's go ahead and drop this section. - Just gonna copy that. - Flip it. - That right in the center. - There. - Okay, - so now emergent Virgin Airlines layers. - We've got our lines on to there. - Emergent. - We've got our pattern separately. - Um, - go ahead and add this black in. - I don't want here. - Let's do it. - There, - there. - Just expanding. - I just fill it in here manually. - Okay, - so that is our outlining phase. - So in the next phase, - I'll be or the next unit here. - I'll just be kind of showing you how to flip this and are are drawing will be coming - together nicely. - So stay tuned for the next unit.
9. Duplicate & Rotate: - All right. - Welcome back. - So in this section, - we're going to be duplicating our line work and are any pattern or black, - uh, - fills that you've got, - and we're gonna be spinning it around to create the rest of this design. - So first, - let's grab both here. - Um, - I'm gonna turn on my guides so we can see right here in the center. - We're gonna want to spin knees around. - We're gonna have to first duplicate the layers here, - and then we're gonna it transform. - But it right there in the center. - I'm holding down shift here so we can spin it. - You can see it at the top. - Where exactly? - At negative 45. - It's matching up nicely. - Since we're right here in the center of our guides. - I'm gonna copy those layers again. - Duplicate him Command T for transform. - Gonna grab our CenterPoint. - I'm gonna put that right here in the center of our guides. - And I'm going to spin this one at 45 degrees holding down shift. - Actually, - 90 here to get it all the way across. - And now you see, - we've got 1/2 s o what we could do here. - Um, - we could merge all of our lines. - I'm gonna do that real quick. - I like to just kind of keep everything straight As I go along. - We've got lines, - lines, - lines. - I'm gonna merge those layers. - So we've got half the lines. - They merge Oliver pattern layers, - got patterns some minutes gonna go ahead and duplicate that all together command t but our - centrepoint right in the center of our guides. - And let's spin it around. - I can see if we hold down shift. - Get it Exactly. - Okay. - Alright. - Looking pretty cool. - Uh, - if you like in turn off your background sketch at this point on, - go ahead and merge my lines again. - Keep everything clean Now. - We just got patterns and lines layers again. - Um, - first, - make sure all of your lines are working. - I could see it looks like we're pretty close. - There's a couple of sections here, - I think where it's not lining up, - exact. - Not that big of a deal. - We can go in there manually and do it and kind of the white while like working in photo - shop rather than illustrator is it gives it a more of a hand drum. - Look, - I think when you're working this way. - So let me just go back in here and start kind of fixing up my line. - So I'm gonna go ahead and do that. - You could do that in years as well. - Just a racing and filling a few of these areas. - Okay, - so at this point, - I've got all my lines connected. - If when you when you flipped your your lines, - if if they were way off, - you may want a just, - you know, - started over and adjusted again and fix it so you don't have to do each piece individually - . - Uh, - if it's pretty close, - a lot of times, - I'll just keep drawing it. - Keep filling in. - Everything going around, - making sure I got it. - Okay, - Now my lines are connected. - I'm gonna turn on my patterns and make sure that looks pretty good. - Gonna turn down the passage e of my lines just to make sure the drawn in the right spots - here. - But let's go ahead and fill in the pattern areas and I'll show you why Later on in the next - units, - while we've got our pattern in our line separated just so when we're adding color and - highlights weaken drawn side, - these lines and put highlights on top of patterns and get a little more technical with it. - Don't just go around and feeling all your blacks, - Okay? - Now that we've got all of our blacks filled in black pattern areas, - turn that back up. - I've got some half shading here, - and let's go ahead and fill that in the magic one. - Click all of these areas that have been filled yet. - Okay, - so that covers are lined art phase. - So, - uh, - this in the next unit were going to be getting into, - um, - coloring so And if you like at this point, - I'd love to see your line work. - So go ahead and post and get some feedback from the rest of the students, - and I'll be checking these out as well. - Um, - and we'll see you in the next unit.
10. Filling In Base Color: - all right, - now it's time to start filling in some colors. - Um, - I think this is gonna go pretty quickly for you, - and you can pick any color palette that you like. - Lately, - I've been into kind of using the whole color spectrum in my artwork. - So I kind of like to start with a C M like a scion magenta, - yellow and black type of look. - But you can really use anything that you like. - Let's start out by. - Let's we don't need these layers over here anymore. - We're done with our sketch. - We don't need the lines any longer. - So let's go ahead and throw those away on. - You can see you still need to have your patterns and your lines on the separate layers - because we'll be using our magic one tool to block off some colors. - Eso Let's just get started here. - Let's click on the lines layer and, - um, - been a just I'm gonna fill in this whole shape first with with a base color. - So I'm gonna go to my action here, - expanded a little bit so that my colors, - uh, - nicely within the lines is clicking this a few times. - Make sure my colors inside. - Just gonna inverse the selection. - I need a new layer. - I'm gonna fill this with yellow. - All right, - So I'm gonna create another new layer Click back on my lines, - layer. - Next, - I want to work with Scion. - I was gonna select all the areas that I think would look good with scion, - and this is gonna be ah, - a little bit of trial and error. - You know, - just start playing around filling in some colors that you think work. - And, - uh, - I I like really, - um, - contrast the colors and sections and highlights in the shadows. - So I try Teoh use contrast in colors as much as possible. - I don't, - you know, - have kind of break break up the different color section. - So you get the most amount of contrasts in your piece. - Don't forget to expand here. - I'm expanding three pixels out of time. - Um, - this is gonna help when we're rotating and flipping our color. - Um, - when we're gonna duplicate these layers, - what you want to do also is make sure that, - um, - your selection is covering all of these points. - A lot of times, - you have to just kind of manually make sure that that's all selected. - That's what I'm doing here. - It's pretty good. - So I'm gonna call this science next, - Gonna do a magenta layer and you'll see I'm really just kind of working in this one section - here, - just like the rest like we've been doing, - We're gonna duplicate flip six pixels on expanding it, - actually go nine here. - We'll fill in some of these to be sure. - Feel that gente and just look around and see if there is Ah, - And yet anything else you want a color black in? - I see a little spot down here. - Most are gonna be adding some whites to design here. - It's kind of like second, - I have also make that white and also in my patterns. - A lot of times I like to use white and then, - um, - do a kind of a gray scale toe. - Keep some pop in contrast, - and in this pattern section, - you'll see here, - um, - I, - uh I should have probably put those pattern lines on the pattern section, - but I could just go ahead and select us the manual way. - But if you keep all of your patterns on another layer, - you can easily use the magic wand tool. - So it's a little less in there. - Okay, - I think I've got all my color blacked in. - So here's the cool part. - What we can do again is select. - It's like my white magenta cyan gonna leave the yellow because it's all filled in. - Duplicate the layer. - Okay, - command T turnout my guide, - and put this center point right there in the center. - Zoom way in so you can see that it's hitting in the middle. - Um, - go up here and put in 45 or you can hold down shift whenever you like, - twice. - And I'm just going to rotate this around a few times here until the colors all blocked in. - Okay, - so now I've got all of my color blocked in next. - I just want to clean up my layers so that we've got a nice clean file again. - I'm going to start with weight. - It's holding down command, - selecting all my white layers and merging do magenta. - And you also want to kind of inspect this. - Make sure that all of your color is within the lines. - If you need to make any updates, - or you need to start over and make sure that you have, - but you're Centrepoint properly in the center when you rotated. - But since we expanded our selection when we filled in these colors, - it should be pretty close. - Should be pretty good. - I don't think I needed to make any changes before emerge. - I'm just gonna clean up the names here, - so it says white gente science. - All right, - so now we are set, - we're all colored up, - and we're gonna be getting into shading in the next section. - This is where it's really going to start coming toe life. - So I can't wait to show you that one. - So, - uh, - go ahead and upload what you've created when you're ready. - Um, - and I look forward to seeing everybody's pieces.
11. Add Shading, Color Gradients & Highlights: Part 1: - in this final unit will be shading and adding highlights and really bringing our designs - toe life. - And I've got some pretty neat tricks that I think that you'll like. - Um, - over the years, - I've worked with a lot of different techniques for shading and color. - Um, - this is one that I've developed recently. - Um, - and it uses some self brushes and some highlights, - and it really gives a nice sense of volume, - I think on. - And it's also a lot of fun to work this way. - So let's get started. - Um, - one thing that I'm going to start doing here is, - um, - making some areas that will help with our selection so we can get some nights sharp brakes - without having to have black lines breaking everything. - So I'm going to show you that real quick, - and it's similar to how we set up our template file. - So I'm going to start out with a new layer. - Uh, - I'm going to switch my color. - The black gonna use my guides. - What I'm looking to - do is, - uh, - um, - create some areas where we can just use our magic wand tool to selecting color. - So we're going to duplicate thes and spin him around. - Gonna hold down shift and first time. - Let's do this. - Let's put it at a negative. - 22.5. - That's gonna give us a line right here in the center. - Okay. - Twice. - Inter twice there, - then gonna duplicate and hit command T. - Once we've duplicated that, - we can hold down, - shift and spin it 45 degrees. - This is gonna be kind of our selection area. - Um, - show you what? - I mean, - here, - let's go ahead and just, - uh, - merge these and I'm gonna it select all selecting the whole art board. - I'm gonna hit command shift. - See? - Which is gonna copy the merge? - It's not gonna copy. - Just this layer is copying the whole merged, - um, - document with all of the layers. - And then I'm gonna hit shift command V, - and that's gonna paste it right in place. - If you've got an older version of photo shop, - it won't do a place paste in place. - So you might hear air sound or something there. - It doesn't really matter if this is the whole document, - so it'll put it right back in the center. - I'm gonna turn the opacity down to zero, - and then I'm gonna get rid of these lines. - I don't I don't even need those anymore. - Um, - and you'll see if we select inside here for clicking on our selection layer, - this is just help us create some nice clean selections. - All right, - So I'm gonna just call this, - uh, - trends, - trends, - parent selection. - Okay, - so let's turn our colors back on, - and we'll get to work. - Okay? - So if we click on our transparent selection, - we can use that for all of our magic wand. - I'm going to start out right here again. - We're gonna want to make sure that, - um, - it's gonna go all the way up to the top here. - And I've created an action to expand three pixels. - So since that's a six pixel line that we've got six picks a line you see there, - um this is gonna put it right in the center of that line. - I'm just going to make sure that it actually goes all the way up to the top point there. - And now we get to start coloring. - So our shading on top of on top of our yellow here, - um, - so I'm gonna make a new layer. - Um, - I'm gonna call this magenta multiply because I'm going to set the blending mode to multiply - . - And then when I use when I use my brush tool on top of the yellow with the multiply layer - here, - Okay, - so now we're just shading inside and you can see, - you know, - appear where we get that nice, - clean selection line. - We can do some pretty cool stuff with shadows. - So, - um, - it's just undo Undo that real quick, - and I'm gonna just give it a little bit of shading on this side on the magenta. - If you say you used green here or something like that, - you could put blue on top of it. - And you could see if you want to use a multiplier, - you don't want to use the multiply. - Sometimes it will work fine to like it's them. - I just put that on normal, - and I wanted to do science there. - I could get a nice green, - um, - if it was set to normal, - You know, - you didn't get a blue that turns to green there. - It just depends what looked that you're going for. - So me undo that you can get a nice range of colors. - This way. - Uh, - I'm gonna keep a nice kind of fiery color. - So I'm going to use magenta, - do you? - And so all right, - so just darkening that up more times, - you click it the dark, - it'll get. - Oh, - and, - uh, - I'm using my soft brush that we created earlier for our sketching. - Um, - that one's back down. - I've got mine. - Said it like an opacity of around 35. - 30 to 35. - And I've also got this turned on here, - which will allow the pen pressure toe allow how much color is coming out and to soften it - up. - You can even a race here. - I've got my eraser set to that, - uh, - self to brush, - and it's got an opacity of 23. - So, - uh, - gonna add that right there? - I'm gonna come up to the top and a little bit of shading here. - And I wanted to be a nice highlight here in the center. - You can see. - See what we're aiming at right now. - Um, - just to show you kind of what we're doing here, - I'm gonna add another layer here. - That's going to be a black shading. - I'm just gonna call this shade. - I'm going to use black And this is where I would go to, - uh, - dark black and a little bit right here. - You can see we're getting, - like, - some nice ranges shading already. - Once you drop it in there, - you could add some more magenta to your magenta layer, - whatever you I wouldn't do. - But just play around with this a little bit here, - Um and so, - you know, - also, - I'm gonna add also white highlights. - So I'm gonna name this layer highlight, - and I'm just gonna add some highlights here in our highlight layer. - So just kind of be a nice kind of glare reflection coming off of this in kind of. - Here's I'm doing this. - I'm just kind of tapping over and over to get a darker in this case, - more white highlight. - I also like to go around the edge and at a bit of a shine there, - too. - Um, - I just bumped up my capacity a little bit. - It's kind of do a bit of a white I laid around it. - This you'll find this adds a nice bit of, - uh, - contrast. - You know, - like going around this section here. - I've got a black, - and if I just do a nice white. - I laid around the edge, - and it's also you'll hear a lot of ambient sound here. - I'm downtown here Friday night. - So, - um, - next to a bunch of bars and, - uh, - music venue. - So you should hear some some pretty interesting characters outside the door. - So also on the other side here, - I'm adding some highlights. - Whenever possible. - I like toe have dark blacks and white highlights. - All right, - so that's kind of the basic idea there. - And we're gonna go around the rest of this and to start coloring up. - So I'll give you example, - um, - of the blue here so you can see him doing kind of shadows on the right. - And I'm gonna do more of a kind of highlight on the left interactions gonna boost that - three pixels. - You probably want to do to make an action for yourself as well, - cause I'm gonna be doing that a lot. - Just make sure you've got it selected. - And since among science layer here, - I'm going to. - So I think we can work with magenta. - That's what's fun. - I think about this. - Seemed like a type of palette. - I'm just using three colors and I could get a whole range you can see here. - If we said that the normal we would get like a pink toe purple. - This is magenta on my magenta multiply layer, - doing the same type of tapping over and over racing. - Then I'm going to create a yellow shade layer. - It's not really a shade, - but more of a highlight. - Either way, - get some pretty rich greens and yellow is going on. - If you race, - you get really kind of smooth, - radiant men shade layer limit and Cem blacks. - And the bigger your brush size is, - the more, - um, - clean your radiance they're gonna be. - That's why I like to make thes selection lines because it allowed me to make my rush really - big. - And I can get a nice, - clean, - radiant. - See, - I'm gonna move my highlight later above the shade there, - and then we can do the same things. - Add makes white. - I like that center. - Um, - you could actually put it around. - The edge here is well, - wherever possible to give more contrast creates a volume. - This would be kind of behind the leaf here. - So, - uh, - kind of a race where it would be in shadow right next I want to demonstrate this area here - where we kind of have more of ah, - highlight in a darker area. - So let's just go ahead and select that are transparent selection layer span three pixels, - and I'm clicking at my magenta multiply layer and click on whatever color you've decided. - Hide that. - I'm gonna shade it up shaded here. - Okay, - So add some shading there, - and what I'm gonna do is, - uh, - and some highlights here rather than shade so we can have a nice bright contrast highlight - layer. - You knew little racing racing here. - I would add a shade down at the bottom. - You just make that nice and smooth. - Okay, - Back in the highlights, - they had a little bit of white and this would be in shadow, - so I was gonna race that away a little bit on a little bit of a highlight on center here. - There's a little settled touches. - I think that really put the icing on this thing and make it get popping. - Stand out. - Cool. - So that's the basic idea
12. Add Shading, Color Gradients & Highlights: Part 2: - could be a little demonstration on the white layers here, - we've got our patterns on. - Oh, - yeah, - This is, - um it's kind of an interesting dilemma here. - Um, - so you'll see where I've got my selection layer with my lines and all my patterns and stuff - , - you won't be able to kind of select inside there, - but we'll be able to select inside of our lines. - So this way we can continue Teoh be able to grab that selection. - It might have been a good idea to for me to turn off my patterns. - Um, - when I made that transparent selection layer, - but this works just fine. - You can click back on your lines. - Um, - layer when you need to. - You can click on the transparent selection one. - When you want to get these selections inside the lines like we made example there, - see if we click on the lines, - we could get that selection. - So, - um, - no problem. - Just select here. - Spanned. - Make sure it's all inside yet, - and in my shade layer, - I that when it turned this back down to around 30 you just start kind of shading up this. - I want to make this look like It's almost like a rounded tube. - You know why? - But this feels right. - Maybe the top is a little bit shaded to. - And just with my eraser to smooth things out, - Just kind of a race over. - I'm going to see if I can kind of get a nice, - like, - uh, - Blair highlight. - Um, - maybe I'll put one right here up at the top, - and we wanna put Want to make sure highlights are over top of our pattern layer. - That's why I had you put the patterns on a separate later as well, - because we can get a nice kind of shine on top of their, - which is pretty cool. - Effect one to see it. - And it might be cool to do good of. - Ah, - shine in the center here is well, - just making my brush smaller and smaller. - You can always take a big eraser in a smooth that out A lot of times to will put highlights - on a couple of different layers. - That way I can erase more freely. - Don't worry about erasing parts that I wanted to keep. - That seems to be working. - All right on. - It's kind of make sure you're following the right lines here that would make this look - rounded. - This was obviously being a bit of a shadow shadow. - Here, - you just play around with it until you get a look that you like back up. - You can see that it looks like a nice, - shiny, - shiny highlight. - So play around with some highlights. - Get some pops and dimension. - I'm going to just work through the rest of this all time lapse of a little bit so you can - see me go and then rotated around soon here. - So just hang on, - we'll draw it all up. - - Okay - ? - Just to point out, - Well, - we're just gonna be shading of this section here on everything in between. - So we're creating our our shade like we did here, - and our highlights on this side, - um, - will be filling in the shading here, - Um, - kind of doing our highlights here. - Same will go across. - The rest of it will shave and highlight. - And then when we're ready, - um, - we filled in. - Everything will be able to flip it, - rotate it so that what we filled in here will fill in our highlights here in the shading - that we've got going on here will flip over to here. - So you'll see that as a zai. - Get to that point. - I'm just going to start filling in the rest of the shade and highlights s so you can see - along with the time lapse, - and then we'll get into flipping.
13. Add Shading, Color Gradients & Highlights: Part 3: - All right, - So now that I've got this whole section shaded center area here, - the next thing we're gonna do is duplicate. - Our highlights are shade or color shade layers. - And we're going to spin them around at 45 degrees and watch this thing come to life. - So I'm just gonna start grabbing my highlights all the way down to my magenta multiply. - There it duplicate layers transform. - And then I'm gonna turn on my guides again, - and then you want to make sure that this Centrepoint goes right in the center of your - guides here. - It will be very important to get this exact zoom way in. - Back out. - Hold down, - shift and spin that around at 45 degrees. - You can see this is we've got all of our layers duplicated and rotating. - Hit okay there. - And this is gonna be in multiple two of two. - So it would be faster if I just go ahead and merge my like layers together. - So the highlights are gonna get merged together. - My black shade layers I'm gonna merge together, - I sigh in, - multiply layer and you can see when I merged those again it goes back to the the normal - blending mode. - I want to sit that back to multiply, - uh, - yellow married to that And lastly, - my magenta multiply layer gonna merge it set the blending mode back to multiply. - So now I'm ready to grab these again, - duplicate the layers, - and this saves you a lot of time. - It may look a little bit complicated here, - but not really. - Just watch the video over. - If you miss something and try it again, - it's really not that difficult. - So let's put this right back in the center. - Make sure we get it lined up and then hold down shift. - Now, - we've got a new set here. - Then I'm gonna copy that again. - Not merge, - but duplicate transform. - Put it right in the center. - So I'm just gonna flip this around a couple more times, - and then we'll finish this guy off, - Okay? - So it's looking pretty good. - You just want to make sure that there's no little parts kicking out here a lot of times. - What you can do is grab your your groups of layers here, - and, - um, - just bump him over a little bit to get it to work. - I'm just gonna bump this up and over to get it to match. - Then I'm gonna grab a couple of these something that you can see kind of how it falls into - line. - There shouldn't be too far, - you know, - just a couple of pixels or something like that. - And since we've expanded at three pixels, - we've got a little bit of wiggle room to play with. - And you just want to go in and see if there's any areas that you need to clean up. - I can see here. - I've just got a couple little sections that I can put some final touches on to make sure - everything is perfect. - All right, - so here's my completed illustration. - The last thing you'd probably want to do and this file is just go ahead and clean up your - layers. - Merge the ones with the same names so that you have Ah, - nice, - clean, - versatile file. - You could always change your color palette whenever you wanted Teoh. - And another cool thing that you could do, - since everything is on separate layers can invert the background. - You know, - you could invert your lines layer, - give it a new look with white lines, - or you could do colored lines and change it up and, - yeah, - do all kinds of new stuff with it. - So now it's your turn. - So get in there and start shading up. - You're drawing. - And I'm really looking forward to seeing what all you guys have been working on. - So please post your artwork so we can see it, - and your peers can review it. - Um, - And if you enjoy the class, - please give me a good rating. - I'd love to, - uh, - do another one in the future and show you some other techniques. - I've got a lot of different styles that I work with. - And, - uh, - hope you had a good time. - Thanks again.
Palehorse, Digital Illustration Wizard
