Introduction to Photoshop: Digital Painting and Illustration

2. Welcome to Photoshop!: - Hello, - everyone. - And welcome to the first video in this lesson for introduction to photo shop for digital - illustration. - My name is Damien. - Mama Lini. - I'm gonna be your instructor for this. - Siri's today. - We're just going to start off. - Simple. - If you have not ever been introduced to photo shop before, - you've never used the program. - This video is going to help you figure out the basics what the interface is all about and - how we're going to go about using the program. - So in that case, - let's go ahead and open up photo shop to start off. - We have our interface. - Over here. - We have our toolbar, - which is our basics. - We have our pointers. - So if we had a program open or a file open, - we could just use this to drug around our layer. - Whatever. - Later we're using, - um, - our selection marquee tool, - which, - if you hold down, - you'll see that there are different types of selections to be had different shapes. - Um, - your lasso tool, - which is a free form tool if you want to use that for of just basic, - um, - selections as well as the magnetic version of the polygon, - which is just straight lines. - There's nothing really fancy about this one, - um, - your Magic one tool, - which will select or try and smart select sections of similar types of values and colors. - So if you had your whole black background and you wanted to use your magic one tool in - order to get rid of that black background, - you could try and select it by just using this. - And you can probably then delete it, - um, - the crop tool, - which you can use to just resize your image if you want to do it manually. - Otherwise, - there are there ways to go about that, - um, - the eyedropper tool, - which is your color selection. - So if you are going to select a color that you see on your canvas and I do this a lot, - it's a very important thing to have, - um, - spot healing and eyes, - mostly just for photograph some. - You can use it for painting, - but I don't foresee is using it too much in this program. - So, - um, - paintbrush, - which is obviously your number one go to we're not going to be using much of anything else - in this program other than the brush tool. - Uh, - your basic brush tool and the pencil tool and replace her and mixer. - We're not gonna worry about thes too much in this program. - Just focus on using your brush tool. - Um, - the clones stamp and patterned stamp tool. - Again. - I don't think we're going to be using this too much history. - I don't use this too much. - I know that there is a way to have your history up here, - over on the side of your screen if you want to. - You see the history of whatever it is that you're doing in photo shop, - so it makes it a bit easier to just another do some of the damage that you may think you - have done to your picture. - But, - uh, - for the most part, - I don't endless. - You really are familiar with this? - I wouldn't worry too much about it right now. - Um, - the eraser tool. - Obviously very important as well. - If you are working on layers, - if you want to. - You getting just use the hockey for E on your keyboard to select that one. - The Grady and tool and paint bucket tool. - We probably might touch on these. - I think it's a good way to just drop in some Freehand colors and you know, - values and not worry too much about getting particularly accurate Grady INTs in your - picture. - So if you want will probably be able to cover this the blur, - tool, - sharpen and smudge. - These are I guess it depends on who you ask. - These convey be damning as well as the ah Dodge burn and spun shul. - These are especially this smudge tool. - How these air all tools that some people will tell you you should never, - ever touch them were, - for the most part going to try and avoid thes for this introduction because they aren't - really gonna help you to understand how to paint in this program without being confused - about, - you know, - burning all of your darks and lights and using the blur and smudge to blend things. - Because realistically, - as long as you know what you're doing on how to blend, - you will not need these. - You will not need to smudge tool. - So don't worry too much about it. - Right now. - These are your vector based options. - If you want to make a vector or a shape or anything of the sort, - you can use the pen tool. - I don't Perseus using this, - it's a bit more advance, - so we'll just leave that, - um obviously, - they're your text tool, - which is for adding text to your program. - Um, - the past select which, - if you have, - ah shape or ah, - vector some sort. - You can use this to select the, - uh, - verte sees on your points, - but again, - we're not going to use this too much. - Um, - your basic shapes rectangles. - You can make these into flat shapes, - or you can make them into vectors, - depending on which you would like to do. - You can select all of those options up here in the top of your screen again. - We're not gonna worry too much about it. - Three d object and you have rotate pan. - We're not gonna be doing three d. - So none of you guys are gonna have to worry about this. - The hand tool and the rotate thes are semi porn, - I guess. - Ah, - for me, - the handle, - I think, - is bound to, - ah space as an add default. - So if you have ah picture open and you hit space bar, - you will be able to drag the image around depending on how zoomed in you are. - Anything like that again. - The rotate tool. - Similar but you in this program, - you should be able to have this as an option available. - If you're in CS three and later, - um, - you can just use our as your default key. - For that. - You can just hit our and your canvas will then rotate, - and it can be useful if you are, - you know, - zoomed in and one. - Get a bit of warm, - unnatural painting field to your picture and resume to obviously zoom in. - Zoom out doesn't really matter for me. - I go over here to the Navigator, - and when we opened up a picture, - I'll be able to show you that. - And I use the slider bar a lot more than I do this tool, - mostly just out of convenience. - I don't like having to hit Z, - and then figuring out if it zoomed in, - resumed out. - You know it's for me. - It's a bit faster, - and that's that's all. - And if you if you ever get stuck and you realize that you've hopes I've pulled my toolbar - out and I don't know how to get back in, - just bring it over here and it will automatically snap back down here. - We're going to have our colors. - And I said this to the H for Hugh because I don't I mean, - it's easy enough for me to select my colors this way, - and I don't I can see all the ranges. - Other than that, - we obviously have a bunch of stuff over here. - What is all this Crab? - Uh, - um, - main bridge. - Unless you're using bridge to browse your files. - I don't think you're going to need this too much info unless you are doing, - you know, - specific work with the size of your image. - I don't think it will be necessary for painting and seen here effects. - We are not really gonna use this too much. - This is all fancy stuff that Photoshopped can do with filters and shapes and like, - kind of stuff. - But we're not going to try and use that for this part of the program. - These are adjustments for layers. - So if you have a layer that's has an adjustment layer, - which we will go over later on, - you can obviously have it here and adjusted as much as possible, - which you can also adjust once it's over here in the side of file masks. - Similarly crueler is Ah, - this is something they have introduced. - I'm not sure if it's in three or four. - I think it's only in CS five and six. - It's basically a program to make what kind of color scheme you want for your picture. - You can then save it and you can even, - I think, - uh, - at its your swatches. - Um, - this is the brush menu will go over this in detail in another video. - It's a bit complex, - but it's not too bad on our presets, - but shy unless you are messing around with making presets, - I don't think we're gonna need it too much. - Okay, - so you open up a new file. - What are we doing here? - We can title this sample. - Why not selection for your pixel range? - I prefer going pixels rather than inches or any of these others because it's more knowledge - based for me. - So if I know, - I know what I know on average would 5000. - My 4000 pixels looks like the resolution. - A lot of times you probably hear somebody say, - Well, - we needed at 300 dp I of or anything like that. - So if you want you can set it to 300 d p I. - We'll be working in rgb color because C. - N y que and lab are two other types colors that are hard to work with. - C N y que might act a little bit funny because it's rendered a different way than RGB. - And your monitor right now is working an RGB color. - So it recognises it a bit better and will be able to understand that a bit better. - And we working at eight bit in the next video, - we'll go over some of the basics on how to use this program and what we'll be doing with - this program in in relation to, - you know, - using our brushes and what all these layers mean over here. - And what the hell is this down here? - And vibrance and human saturation? - Heck is that I'm asking, - What the heck just happened up here? - I don't even what's going on? - Okay, - well, - we'll go over all this, - uh, - in the next video, - Say it do and we'll see you again in the next video. 3. Understanding Layers: - Hello, - everyone. - Welcome back to part two of Understanding Photoshopped as our introduction today. - We're just going to get a little bit into understanding the layer system on what it is and - what you can actually do with it in Photoshopped. - Um, - for instance, - let's start off by introducing the layers as they are. - Uh, - over here is where your art. - If you've set it up the way I have it, - your layers will be over here down here. - We'll have some options for your layers s so you can go ahead and, - well, - let's go ahead and make a new layer and you can see that it already has given us layered um - , - these air all their options multiply overlaying color dodge sometimes soft light being the - ones that I use, - particularly the most. - They can go over those quickly for you. - For instance, - let's start off by while it's to make a purple squid, - right? - Not. - And the good thing about this purple square on this layer is that now you can see - everything behind. - It is now Alfa channeled, - which means that there's nothing underneath it so we can move this around freely in you and - because of this. - If we were to bring up a layer behind it and put a gray, - that purple would still be there. - It's now unaffected and weaken even further. - This say this is where we want our layer. - You can lock it, - and now we can no longer be altered. - And you can even see photo shop will now complain to you because you've locked it. - And what do you want for me? - Um, - but you can always totally something off other lock options. - This is the position lock. - This is the brush luck, - meaning that you can no longer paint on it. - Right, - Because you're brushed, - your brush to layer is locked and you can't alter it anymore. - So if you find yourself needing to block yourself from accidentally missing up something - and you want that layer to be perfect than that is a good way to prevent yourself from - doing that. - Otherwise, - let's try some options here. - And what's gonna happen when I take this Purple Square and put it on? - Multiply Well, - it disappeared. - What happened most of play. - If I were to remove the black, - it's back. - And why is that? - Because anything on black if you try and multiply it. - It will be black because there is nothing to add to black, - according to photo shop. - So multiply is to layer on top of. - So if I have this black and if I go to layer and duplicate the layer, - my purple is going to get a lot darker purple because now we are layering these two purples - on top of each other cause they're both off multiply, - although this bottom layer won't need it on Lee because it's on a white background. - White backgrounds. - If you try and multiply on top of them, - nothing is gonna happen because it doesn't add anything to white. - White is just a blank canvas. - According to photo shop, - Um, - overly is a bit similar, - except it works a bit more with adding but darker purple. - Because we noticed that theme. - The purple is a bit dark on value range, - but if we were to go to human saturate, - which is command you or control you depending on what operating system you're using, - uh, - we can increase the saturation of it. - We can go to the hue and we can change it to a blue or we can change it to a red, - and then we can increase the lightness. - And now we have this salmon esque color. - But if we were to have this purple underneath it and we put it back to overly, - it's gonna look a bit different. - And that's something that can be used as an effect layer, - because you can use it to make a bit more color. - Make it pop. - If you notice your pictures looking a bit dull, - you can always take a take a Grady int layer. - For instance. - I would go to here to the Grady into and let's get a nice yellow because yellow light is - always a good thing. - Um, - and then we'll go and put this on normal the capacity to about 50%. - Why not? - And then let's see what happens. - As you can see, - we got a bit of, - ah, - brighter light coming in here. - The same goes for if we were to let's take a bit more of, - ah, - darker purple blue. - You can see you even at this percentage were getting a bit of ah ingredient on both sides, - and we're kind of leveling it out, - and we're even punching up the colors because of it. - And that is because we're using a yellow light, - which always will punch up your color as it would in natural sunlight. - If you could imagine it that way, - Um, - and we're cooling off the shadows, - and that's an idea of what overly would do if we were to put this back on normal. - You can see that it's not not quite what it looks like. - This is only because we are on a white background. - If we were on any other killer backgrounds beside black, - obviously, - because black has nothing. - If we were, - you had to go to gray. - You can see that it's still is doing this. - So what happens if we do color dodge about the same? - But it will burn most of your colors instead with ah, - lighter color of everything. - Black will not work on this layer. - Black will not add anything on a color dodge layer, - so you are mostly just adding lightness to whatever it is you do when you are saturating - the colors by using this color. - Dutch similarly, - can be said about overlay, - but it is more of a pale version of over late. - It's not a strong as the overlay layer is. - So that's why I particularly use overlay a bit more than I do the soft light. - Now, - if we were to keep this on overly Okay, - what do we do about this? - We We want this shape too. - Have this color. - But we don't want the rest of this to be here. - Well, - that's where masks come in. - So if we were to control or command, - click on your layer on the some nail here you will automatically get a selection of your - shape. - And Photoshopped has a bit of a hard time with identifying edges this way. - So if you want, - you can go to select, - modify, - expand. - And you can expand this by even just one pixel. - And that way we can go back to this layer and make sure you were on this layer that you - want to mask. - We go down here to this square with a circle eight and we hit that button and now we have a - mask. - It will always default you to selecting this mask And on this mask weaken do lots of 50 - things as long as you have white, - pure white. - We can now be adding to that mask, - as you can see, - and here by example, - so on and so forth. - This is a handy trick because you can make interesting patterns If you wanted to, - I could go ahead and make a lot of interesting patterns with this. - And the cool thing about it is that you still get that Grady in in there, - and you can always change it up, - too. - So if you wanted to saturated change its color, - that sort of thing. - You can do that, - but otherwise that is the basic idea. - And if you want to a race on your mask clear, - you just go back to black and you get rid of it. - And if you want to just edit the layer in particular, - click on the thumbnails and you will be able to do that. - And now you'll see if we go on get If you go and get a blue, - it's only going to alter, - and we're still on overly, - by the way. - That's why we're still getting these funny colors. - No matter what I'm choosing, - Um, - and here you can see that even on the thumbnail, - possibly you can see this, - that these lines air stretching much farther than the mask is allowing. - So we're only getting this as a window, - so it's imagining as a cutout board on top of your layer, - and we can use it that way. - Now what happens if we want to adjust the overall image? - You can go down here and if we want to change something like the levels in which case will - change the levels of the entire picture. - But what about not wanting me to change the levels of what I have here on the mask? - That's what this is for. - They have already offered you a blank mask, - So if you would like to add to it, - you want to halt and then click and drag up to the next mascot. - It's already blink. - Replace the layer mask. - You know why not? - And even now we can see that we can still mess around with this if we want to, - we can make a burner. - We could make a darker We can do whatever we want with it because we have these masks, - that's it will get back to you on the next lesson involving creating and making brushes 4. Making Brushes: - Hello, - everyone. - Welcome back to introduction to Photo Shop in this portion of the introduction will go over - brushes and what it is that you could really do with brushes. - Um, - my brush right now is the default brush up here is your brush menu is gonna see. - I have a lot of brushes that I have collected over the years. - I don't use all of these, - but it's good toe. - Have them. - If you find them, - you can always just import them. - Easiest way to do that is to go to this little arrow up here and say load brushes and you - can load them up. - And you can even ah, - even append them to this, - um, - this list that you already have. - So it should be easy to get that If you were to want to edit, - say, - I have this basic ground brush, - I go over here to the brush menu over here on the side. - We'll pull that out so it doesn't go away. - He comes up with his menu and you can see a sample of what it is that the brush does. - So if I were to use this brush, - that's basically what this brush does, - and with spacing. - I prefer a bit smoother spacing, - which means that I lowered the percentage about 25%. - So there's a bit of texture in there, - and it still offers a nice, - smooth, - radiant. - And spacing is just a matter of yet how spaced out this is. - So I prefer 5% or around there. - Um, - it depends on the brush, - though. - Transfer is mostly to give you that faded. - Look, - this is in CS five and six NCs three and four. - I believe you will be looking under color dynamics for this, - and it will be called the A pastie Jeter. - You can look that up and it will. - You can obviously jittery it and make it more random if you prefer that kind of feel to - your brush. - But otherwise I keep it fairly smooth, - and I said it depend pressure, - obviously. - Otherwise, - it won't work as intended. - Um, - other than that, - you can change the shape dynamics, - which means that you can change the size, - shape, - the different variations of it's the minimum diameter. - Sometimes I like to use a bit of a fatter brush because it will blend a bit better so if I - were to, - like, - select that color and try and nicely blood that in that would work a bit a bit better than - if the thinner and harder brush. - Because if I were to get thinner and harder brush, - it makes it hard for me. - Teoh smoothly transition between them because, - as you can see, - it's kind of just pecking away at it. - It's not really working too well, - so if you change the minimum diameter to a bit more of a reasonable percentage for blending - , - you can see it covers a bit more space, - and it's a bit easier to blend your colors together. - And that's how I say abuse the brush system in order to blend my colors a little bit better - in photo shop. - Because this isn't painter and painter has a bit easier time blending colors, - but in photo shop it's still obviously possible. - So other than that, - we have things like scattering, - which, - if you want more texture, - some funny funniness to your brushes, - you can always do that. - I find needs to be a bit more chaotic. - I like more under I make brushes that orbit more under control than that, - so texture you can always add a texture. - As you can see here, - it's using a texture that I have already pre loaded in here. - It has some default ones. - If you want, - you can load your own by just going here to add another one. - Um, - and this will obviously just add a bit more of a texturizing. - Look to your brush, - which isn't a bad thing, - especially if you're looking for a bit more realism in your works. - Um, - doing so will add a bit more of, - ah, - flair and list of that digital look to it, - which a lot of people can easily recognize. - Um, - if you want to look at, - make it a little bit more like natural painting or something of the sort, - that's a good way, - Teoh. - Give yourself a bit of an option for that. - Otherwise, - you can always layer textures on top of your your picture as you're working with it. - Do a brush is just a way to take to pressures and mix them together. - Um, - so as you can see it already, - I think chose a random brush for me down here. - If I wanted to, - I could go to any one of these and mess around with it, - and it will give me different types of brushes. - The only thing about this is that it will sometimes slow down photo shop because it's - trying to render from two different brushes at the same time. - And if you have a really big brush and a really big canvas, - it'll slow it down a little bit. - But it's a nice way to add a bit of color and flavor, - texture, - anything that you might want. - Um, - for color dynamics, - you can just change the huge inter and capacity, - so as you can see it, - it messed up my brush. - But you can go with saturation, - brightness, - foreground background, - jitter. - I mean, - you can mess around with this and get a bit of an idea of what it does. - But, - um, - it can be a bit complicated if you're using a flat round brush. - If you're using something like a texture brush like a leaf rush, - for instance. - Like, - say, - if I wanted to go to this leaf brush that I have here as a texture, - and I wanted to add some color dynamics on top of that, - you know it'll give a bit of variation it will never use. - It's it's hard to get it to use the pure color that you're trying to get, - like as you can see, - I'm color picking here, - and it's still not using that color to its full extent. - But it adds a bit of variation, - which is not a bad thing. - Um, - otherwise, - you could just keep this here, - bringing up any time we need to make it any edits. - What edges Airbrushing. - I don't really use these too much because they're not. - They're not particularly useful. - You can do a lot with this in order to paint with, - so I don't find it particularly useful. - No, - if I wanted to make a brush, - say, - I have some blues here and I go to the elliptic tool and I am one a new layer I feel that - in, - and I make a bit of a variation with these circles by duplicating these layers. - And then I murdered these together. - What happens when I so like this and say Go to edit defined brush preset. - As you can see, - it's already giving me a preview here, - and I'll name the I named this one circles and what did that do where to go? - Well, - if we go back to brush, - even right clicking, - you can see that it brings up the brush menu down here. - My brush has appeared. - Now, - that's kind of a useless brush, - isn't it? - Well, - that's the beauty of this. - We can go here, - mess around with the spacing of it. - Maybe you like that. - Maybe even like changing shape. - Make it a bit more angled shape dynamics. - If you wanted to change the minimum diameter, - we can even do this. - Texturizing it. - We can even do will brush it. - I mean, - you can You can go crazy with this if you really wanted. - Um, - sure, - Why not? - Let's go with that scattering. - No, - that seems interesting. - Let's see what happens with that That's gonna see it gives a bit of a different texture, - different flavor kind of brush. - And if I want to say this, - I just go to the menu. - I couldn't say new brush. - Preset circles alter Glenna. - And now I have this version. - As you can see as I toggle between these two, - it will show you that you now have these two different types and I have kept this brush for - myself, - and now I can go back and use it anytime I wanted. - I want you guys to keep in mind, - though, - that I used the blue here. - But if I were, - this brush is only work in black and white. - So if you were to make this black, - you wouldn't be getting the opacity that you see here and this preview down here. - You would be getting a pure black, - have a brush like these, - any of these that even see if you were to use white. - It would not appear if you were used a mid grey. - It would appear similarly as this did, - because this version of this color that I have is a fairly light version, - and you can see that there's not much, - not much value to this. - So that's why it appears the way it does in this thumbnail and why it's not as pitch black - is the rest of these. - So as you're making your brushes, - remember that color does absolutely nothing to it. - It's always just in the gray variants and black, - white and gray, - and that's it. - Hopefully, - you guys air now introduced a bit to the brushes system. - There's a lot more to go on here, - but we'll just keep it in this for now and will. - So you guys and the next video when we talk about introducing how to set up your still life - . 5. How to Set Up your Still Life: - Hello, - everyone. - Welcome back to part two are Listen to introduction to how to set up your still life. - Now that we've learned a bit about how to work photo shop Well, - let's get into the project and see what we can do to figure out what we're going to do for - the still life portion. - Um, - I have over here a couple of examples of my own shots taken for personal projects. - Although I haven't worked on on any of these that in depth anyway, - these air just some samples that I have for you to understand some ideas in some concepts - behind the composition, - color selection, - textures and all that kind of stuff. - So let's start off with this one for this one. - It's, - ah, - smaller set up. - You too can set up something a small. - Is this if you if you like, - it doesn't matter how big or how small it doesn't. - It doesn't matter to me. - Whatever you guys feel comfortable with working with, - um, - this one is a smaller example. - I've used a couple of different textures here to compliments and the colors. - For instance, - I've used some of these warmer colors, - like in this rusted chain here and in this seashell. - I've used a bit more of an orange red to complement some of the green here. - Um, - and the green kind of flows through the middle. - And then you have some accents off on the sides in this, - um, - darkened, - this more rich color. - Complementing this is well, - is ah with this type of cloth and you have a refer more metal texture. - You have the a bit of a shiner texture with these grapes, - although it's not extraneous, - say the crystalline bull that this this composition is sitting in. - And then we have something a bit more fragile with these broken eggshells. - Just add a bit of variety and harder edges to keep the variation going throughout this and - , - of course, - the seashell, - which is a nice focus point. - It's, - um it's someone in the middle of somewhat off to the side, - but it creates a good flow throughout. - Here it is. - You could see there's a bit of a circular dynamic going on here. - I didn't want to add anything that would severe your eye off to the side, - going up into the corner, - anything like that. - So this is ah decent circular composition going on here s so if you want, - you can emulate something similar to this. - Um, - for this one, - this is the one that I'm more than likely going to be using for this example, - just because I happen to, - like the more rustic look to it. - So when we get into painting, - you're more than likely see me working with this one. - This is more of Ah, - just a settler set up by making sure that I have a bit of a triangle composition going on - here again. - You can see I'm proud of the rest of chain. - Um, - there's a bit of, - ah, - grayish blue creeping in here from the rock and from this from this feather. - Um, - so we have some of the warmer and the cooler coming in. - Although this is more probably gray than it is blue. - The fact that we have these warmer colors in here in these reds gives off a blue kind of - hue to it. - So even if I wanted to, - when I go into painting this, - I could make it a bit more saturated and bit more obviously blue if I wanted to and stuff. - Do you guys. - Whether or not you would prefer to do something like that again, - I have a variation of texture. - So I have the feather, - which isn't obviously a different type texture than, - say, - the leather bound journal here and the the chain, - the rusted chain again for the metal. - We even have some rock, - wood and bone for this horn that's coming in. - So not a lot of variation will add interest into your A and your beasts, - so make sure that you vary it up a little bit. - And don't just put, - you know, - a whole pile of, - ah, - dirty laundry or anything like that. - You don't want just a bolt like a bowl of fruit is okay as long as the bull is, - ah, - vastly different type of texture and is either a lot shiny or maybe even a lot duller than - some of the fruits that you may have in the bowl. - So even though it may not look appetizing and may be interesting to set up a bowl where you - have me if you have a rusted bowl of some sort, - although it may be hard to find that even an antique store or something like that, - um Then you put a bunch of fresh looking fruit inside of it, - then being interesting enough composition and design choice to carry it into being an - interesting still like peace. - This is a bit more complex. - When I went ahead and tried different, - different variations for the I have, - ah, - little Halloween decoration of a chrome skull. - So that offers a lot of reflection and a lot of interest going on here in the in the - centerpiece, - Um, - it's a bit again, - more of a triangular composition. - As you can see, - it kind of flows one way, - and in the other, - uh, - we have the higher point up here, - which obviously is complimenting some of the reds and the, - you know, - the warmer colors that are coming in from here. - So I'm not gonna throw when you know a blue cloth underneath it, - because it would just ruin the the idea going on here. - So the interest here is that you're getting a lot of reflective parts, - like you can see some of the orange bringing in here some of tomatoes air coming in here - even leaves up here in the top of the chrome skull, - which was the idea that I wanted to go for with this one. - So there is something to consider as well reflective surfaces, - even though they may be a bit more complex to do, - There's still interesting. - And they offer a really good centerpiece in case you have anything laying around that you - might want to use for that. - And for this, - this is a bit more of, - ah, - settled composition. - It's that is more of a diagonal composition. - Uh, - Rambis, - I guess you if you really wanted to look at it that way, - Um, - the circular piece, - obviously, - is the focal point here. - So whatever is here, - including this, - um, - is kind of the focus of this. - And we have again different types. - Two textures, - which is, - you know, - the glass for the black light bulb over here. - Ah, - bit of a stone work here. - Toe leather, - the different types of plastic metal, - different, - again, - different textures. - We also have just a basic composition. - Again, - we have the warmer colors and a bit of green poking in here to complement the colors there - as well. - Um, - and that's really why this This is OK as a competition only because this is so pronounced. - This isn't my favorite composition, - but it still works. - It's not. - It's not too terrible. - And when looking in the background, - I'm not gonna be too worried about the these details over here. - When I goto work on it, - I'll probably just either blur this out or continue this so that it looks just complete and - not worry too much about it being in my reference, - because as an artist, - I can always make artistic decisions. - And I could decide, - You know, - I don't really want this in here. - Um, - and that's about it for now. - If you guys getting the ideas for this and go ahead and you know, - if you are inspired by it, - you want to use your eggshells and grapes, - go on, - go for it and use whatever you want to use whatever is laying around the house and whatever - you think would work or interests you like. - If fruit doesn't interest you and go something more like this, - something more rustic. - Sometimes you just want to, - you know, - pay to flower. - That's that's fine, - too. - I mean, - I'm not gonna be picky about what you guys choose to use, - so just find out what it is that you want to paint and go go forth and set up your your - still life and go ahead and either take a picture or make a sketch or something so that the - rest of us can see it and we'll go ahead and see how. - How goes. - Let's actually let's talk a little bit about lighting, - because I know that some of you guys probably have no idea how to set up the lighting in - your compositions. - So most that time just go with a one directional type of light. - Don't bother with complex lighting room lighting. - All that kind of crazy stuff relating will come when you are having a surface enough that - it would be reflecting off of it. - You'll have a reflective light that comes in once in a while, - so let's not concern ourselves too much about having multiple sets of lights. - Just focus on, - for instance, - like this one. - Just focus on having one light source coming in either diagonal or, - you know, - I I wouldn't recommend using, - like flash on your camera or anything like that because it will just blow out the entire - thing. - So let's just focus on having one light source coming in, - possibly at, - like, - you know, - 35 40 degree angle. - Uh, - that way, - More. - More importantly, - what you need to be looking for are interesting shapes, - like how these shadows air creating interesting shapes in this composition. - Here, - you want to be looking for something similar like that. - You don't want to have something boring to look at something incredibly flat. - Anyone but something with a lot of dement dimension happening. - So these interesting shapes will cause a lot of interest in intrigue. - I guess if you wanted to say in your composition, - So go ahead and look for something similar to that in the next video we're going to talk - about, - you know how to set up your thumbnails and how to sketch these out and get some ideas again - . - I'll be working with this one. - So we'll see you again in the next video and hopefully will finally get into painting and - photo shopped till in 6. Making Thumbnails: - Hello, - everyone. - Welcome back to our introduction to photo shop for digital illustration. - Again. - I am Damian Memoli. - I am your instructor, - and we're gonna be going over some of the basics for doing your thumbnails for this project - . - First, - we're gonna start off with the very basic sketch, - and you can see I've separated my drawing board here. - He could do the same by going up to here for the arrange documents window and arranging - however you want, - That'll do it automatically. - Um, - you can do this manually if you want, - but it's much easier just to do with this way. - And then you can see both of these. - I went ahead and copy just the same size as my photo. - So I know exactly what the ratio is and with size and proportions are and I will get - confused and will help me figure him plot out things later on. - So, - without much to do, - I'm gonna grab myself, - I guess. - A black brush. - Regular size brush. - I mean, - as you can see in my window over here in the brushes window, - my brushes fairly said similar to the default. - It has only, - I think, - transfer on radio opacity. - Geter said to pen pressure, - obviously, - and to minimum. - And I haven't even started up. - So what we're gonna do? - How I usually start my sketches for this, - I use control you, - which brings up the human saturation, - or in this case, - for Mac command. - You, - um and I usually bring down the lightness of my canvas just a little bit so that I can get - a median range between these two in the medium range is probably there for this picture. - So we'll go there, - started a new layer, - and then let's get to drawing. - - Okay - . - As you can see, - this is a very basic sketch. - I haven't really gone in and put in any of the values or anything of the sort. - I'm just looking for points of interest, - like the, - uh the shade, - the shadow edges of the shapes for the major shapes. - Making sure everything fits sent is looking the way it's supposed to proportion wise and - all that kind of stuff. - So this is the first step to your thumbnails again, - I don't think I expect you to spend more than 20 minutes on it at most. - You just need to plot the points get some basic line working, - and if you're happy enough with this sketch, - you can easily just use it to go towards your final as well. - If you save the image large enough, - then you can use it to help help you, - Ah, - during your final stage of this project, - and you can go ahead and start, - you know, - slapping color onto it, - and we'll get into that in the next few lessons. - But for now, - we'll focus on this, - and you can always just save it out as a smaller image so that the rest of us can check it - out. - All right, - The second portion of this assignment for the thumbnails is to do a simple black and white - value study. - Um, - it's good practice to, - Ah, - try and do it based off of what? - Your color references. - Because if you were to do this from life, - you wouldn't be able to have, - you know, - black and white filter on top of it. - So it's good practice. - But if you really find yourself struggling again, - you can go to command or control you Ah, - and bring up the human saturation dialogue and take the saturation down to minus 100 then - this way you have a black and white representation of what your picture is going to be like - . - And you can see the values and even looking at it like this. - You can see how much darker this red is compared to how it actually looks on, - you know, - on the screen. - Um, - there's some good value ranges here. - Depicted. - Um, - So for this, - this exercise in particular, - if you would like to approach it this way, - um, - I would recommend duplicating the layer so that you don't screw up your actual picture. - Go ahead, - take it down. - And then we'll do a very basic basic sketch for the black and white so that we know - typically what the value range is there going to be and make sure that we're familiar with - them. - And we know what to look for for the final again. - You don't need to spend too long on this, - um, - and we'll go ahead and get get it done, - and you'll be able to see what range of ah detail I expect from this. - I don't really expect too much again. - You can use, - um, - any brush that you would please. - I may be using the softer brush here without the harder edges, - only because it will help me get a much smoother, - um, - ingredient and a softer edge. - So if you are willing, - you're looking for something like that, - by all means, - and we'll go ahead and get started. - - Okay - ? - As you can see and kept very loose, - very basic infected. - Some of this doesn't even line up like the horn and the journal. - These air a bit off here. - The journal is a bit taller, - skinnier than what I've planted it in. - But as you can see, - I just wanted to get a basic idea of what the value scheme was, - and I'm familiar ties myself with it before I jumped into the final. - Um, - if I talk back and forth between these two, - you can see up in the Navigator up in the top right over there. - The differences. - Obviously there is a bit of difference with proportions and all of that, - but you can get a good idea of the values and see whether or not you're you're kind of - close or really off for how you're doing on that. - As you can see, - I think this area down here needs to be a bit brighter and, - you know, - stuff like that. - But for the most part, - it's good enough for the purposes of practice and knowing, - familiarizing yourself with it and for this next mixed thumbnail weekend, - go ahead and do something similar to this. - But go back to our first initial, - uh, - picture and put in the color instead this time and familiarize yourself with the color - scheme and as well as a composition. - And by the time we get to the final will be so familiar with, - it will probably be sick of it. - But for now, - let's go ahead and get into doing that. - - Okay - , - here we have our basic from new our basic color thumbnail again, - my eyes, - you can see it's very un rendered. - It's just to drop in some colors and get some idea of what the color scheme is. - Um, - now I'm going through this. - I've noticed that there's a lot of more of a red orange when on technically orange not - technically red, - it's in between. - Um, - I have also noticed that there are a lot of yellows, - especially in the horn, - and someone in the piece of wood in the background. - Um, - and also there are a lot of blues, - and there's a good white or Ambien blue light sort of lighting this whole scheme eso we get - a bit of blue going in here a bit of blue in in the foreground here in this piece of stone - and obviously in the, - uh, - the feather over here. - And we can use that for some of the shadows and some of the more whiter areas because they - are the cooled off in comparison to if it was any yellow light. - So that's it. - These are just some basic ideas for your thumbnails. - Whenever you get a chance, - go ahead and get get them done so that you can get familiar with your project before you - jump into the actual final project, - because it will help you familiarize yourself with it for approaching it. - And so we'll see you guys again in the next lesson. 7. Painting and Blending: - Welcome back. - We're going to go over some blending techniques for this lesson. - Uh, - if you want, - you can go ahead and follow along. - Um, - although I'm going to just be showing you an example of how I blend in photo shopping for - this will be using a black and white version of my still life so that you guys can just see - how work in black and white And when you're working in black and white b share to just - focus mostly on the values and do not be too concerned about what it is you're gonna be - doing with the color and beyond the saturation and all that kind of stuff. - Um, - even so, - don't worry too much about, - you know, - the the rest of this. - What I'm going to be doing is focusing, - I think most famous father, - just to give you guys a sample of you know, - how I blend in photo shop and what it is that I can do to get, - like, - you know, - all these nice, - Grady, - it's going on in this feather. - I figured this was a nice indicator for, - you know, - a nice value range. - So for that, - we can Ah get into some examples of you know how I would approach this. - First of all, - I'd probably approach this as a, - you know, - sketch a very basic sketch, - get the shaping more than anything because I don't want to concern myself too much with - complete accuracy at this point. - That's a basic idea of our of our feather. - Um, - So if I wanted to approach this, - how would I do that? - How dark you figure this is? - Well, - I'm guessing it's about here. - And some techniques. - You can use our some very soft brushes, - as you can see it, - even in the thumbnail, - for this one is a very, - very soft brush. - Uh, - there is some spacing in it, - but I'll lower that just in case. - Um, - well, - you can do with this is get a very gradual and soft kind of radiant in here, - and I'm not worried. - Notice? - I'm not worried about the edges right now. - It's not a big deal for me because I'm going to be worrying more about getting the - ingredient to look how you think it should. - So, - for this, - let's get some of the late again from the bottom getting even darker. - Grey because it I'm losing my my edge. - But that's perfectly fine. - I don't really care right now because I can always go back with an eraser. - Or alternatively, - if I had already determined to shape, - I can go back and mask everything off. - In this case, - I haven't done that. - So I'll just a race. - You can see there is a very crude representation of, - uh, - of our feather here, - and I want to get a bit more texture in there. - So I'll take my softer brush or that down to about 5% and start, - you know, - color picking and just generally going back through here to render this out a little bit - more. - If you want, - you can go up to the flow of opacity on. - Try some settings out to sea would suits you. - Um, - 70 and 30 tends to be a decent, - varying range. - You can always play with it and see what you would prefer. - Sometimes you get a bit frustrated trying to blend these in because for shop is not exactly - too good at it. - So I have a custom brush here that is a bit softer and adds a bit of ah, - smudge effect to it. - So, - like I said, - when you are going in and figuring out your brushes and trying to create some for this - project focused on some stuff that you would think would help you with your project and - with you in general just trying to get familiar with photo shop um, - I could recommend brushes that have a bit of ah texture to them so that you can get that - nice smoothing effect. - Of course, - one of the bigger things about blending is focusing and making sure that you're getting - your edges correctly, - and that is a big part of drawing painting in any medium. - As you can see that, - there's a hard edge here, - and I'm trying to make sure that I get that edge and his close to my representation is - possible. - I'm using a very, - very subtle, - very light strokes because I don't need to go too hard. - If I go too hard, - you can see what happens. - I don't need that. - I just need small and precise. - I mean, - you notice this whole time I've got my feather selected because I didn't think I would need - to bother too much with the mask I mean, - I can go ahead and mask this if I really wanted to. - But as you can see you, - what happened there is that because there are some Grady ints if I were to a racist, - you can see it's a see through right now. - So if I were to actually mask this, - um, - it's trying to use a solid black and white so that it sometimes, - you know, - omitting some data. - Because of that, - we're seeing a bit of texture in here in the variation between some of the greys, - some just kind of random izing. - My brush strokes in here to get that texture, - but wanted to I could actually get a texture brush. - But for this purpose, - I want to keep it a bit painterly. - So I'm just going to randomized my brush strokes a little and get a bit of a texture in - there. - But for exercise, - I don't really expect this precision of detail or anything. - Just an exercise to make sure that you practice with your with photo shopped so that you - can familiarize yourself with it and get to know how you approach blending in the program. - My advice would be try and keep it as soft. - And don't if you find yourself, - you know, - grinding on the tablet. - There's probably an issue there, - so it should be a nice in the gentle approach. - If I want, - I can go back and get my harder brush. - If I find that there's in these harder edges that I want to go back into, - you can see how soft and subtle I'm being with us. - That's part of the part of the dance that you're gonna have to learn to do with - Photoshopped. - You know, - it's a very basic, - basic idea of how you took an approach blending within the program. - I'm just cleaning up so much is here for my own sake. - Um, - go ahead and do your A black and white. - Remember that you don't need to make it finalized. - Do you just need to spend a bit more time on it than you would have with the thumbnail to - familiarize yourself with blending and get a bit more detail in there? - Go ahead and go forth and, - uh, - practice with your with your photo shopping and see what is you can do. - Ah, - I look forward to seeing you guys assignments taker 8. Painting in Color: - Hello, - everyone. - Welcome back to our final video for this course. - Um, - I'm going to go over just my basic usage of Photoshopped forward this still life, - which I will be going over how I approached my still life for this For the most part in - this I have only used a I think three or four brushes. - I've used one of my round brushes. - Um, - this brush to as, - ah, - general brush to smudge and blend colors and shadows a bit more My very soft round brush to - get in the large masses to make sure that everything is nice and smooth. - Um, - and a couple of textures I believe I used, - um this brush, - which is, - is just a kind of a textural brush. - So what happens when I use this brush is you get a kind of, - ah, - nice little texture going on, - which I used for part of the journal and part of the background, - I believe, - um, - other than that, - I think I believe I think used this one, - which is again just another texture brush, - which you can see is mostly for I think the rocks and what not just add a bit of texture to - them because otherwise it would be quite flat and probably look very boring. - So So let's see. - I've start off adding my base, - my base color, - which was for my image. - Um, - and I went ahead and got my sketch. - They didn't from my thumbnail when I added it in here. - I didn't really toyed with it too much. - It's just ah, - basic understanding of what the composition is meant to be on and where the major areas are - . - After that, - I went ahead and added in my base, - and and it looks complex but really isn't too complex. - I was adding in mostly shadows. - As you can see, - I was going in, - kind of like if you were to imagine it as a basic three D render if you've ever done that - before, - I went in and added mostly the shadows just to plot them out and see where my very darks - and where my majority of my shapes were going to be like the roundness of this horn and - these were would be very flat. - I knew that my major shapes and background I got in because it's a very simplistic - background and it doesn't take much now, - also plotting out the's change just to get the complexity in and, - you know, - same with this. - From then on, - I was just beginning to add my colors and some of the textures. - As you can see, - this is a journal texture that I kind of put on with that brush that I just showed you. - You can see I did go ahead and mask these out so that when I went ahead and mess with it - further with the texture, - I wasn't going to impede on any of the rest of these. - Um, - feather. - I also did a mask on. - Although even when I went in to go ahead and paint it, - I didn't really bother with him. - Ask too much. - And after that you go the render as you can see whole lot Orender. - But I started off with the horn. - I wouldn't hadn't just went in. - And as you can see, - I missed with bit with the background during this part of the later um, - major, - it was matching up. - Same with shadow. - This is before I had in my base. - When I put in the color for this rock, - If I go and remove it. - You can see that when I went hadn't slept in my base. - It's a very basic understanding of what these shapes are. - So I put in my my grade blues and my oranges, - my pale orange is that, - I mean, - I was going to need This is a bit more of a greenish yellowish kind of color. - Um And then I went in and I started detail ing it out, - and you can see all it needs Is these three these three layers here, - one adding in my basic render, - adding in the basic wonder for the second and then just putting on my texture, - as you can see, - goes from 1 to 2. - This I was just putting in my basics for the chain. - You can see I was working, - trying to work the shadow in and some of the colors to make sure that I was getting the - render right. - Um, - and then I went in and finished it by adding in my textures, - Um, - this one was mostly just one of those texture bridges I showed you and painting in the rest - of these colors, - just making sure that the shape, - the shadows and the highlights worked because if those don't work, - then this entire thing would have been very messed up looking. - And you want me even Probably have been able to tell what it is. - Um, - my one hadn't started off my brand chair, - as you can see, - um, - only two layers on this. - For some reason, - I decided to put another layer on the surface. - Decide, - as can see, - it's not a very complicated on. - As you could probably tell, - um, - these are just strokes to follow whatever direction that my reference was telling me to go - . - And same for this, - just a matter of plotting in a bunch of mush my shadows of my highlights and I soft and - then going back in with my my heart a brush and trying to get in those little minor details - to complete that illusion of texture In there. - Here I was beginning to approach my journal, - trying to get in the right colors and the right textures for this because one of the bigger - parts of the journal was the texture. - And here I put in my little satchel are the little the little handle here, - the little latch and, - um, - down here I started to put in my base, - as you can see. - And then here I went ahead and put in my my leather. - I went ahead and finish the journal off with this, - um, - it just took a bit longer than you and the rest of this did. - They didn't want to get too many scratches in here because my reference didn't look that - Warren. - And so I didn't want to over do it or anything like that. - And the final piece was the feather and went ahead and put that in at his. - Yeah, - I put a bit of texture here, - but the rest of this is just a quick lines to get that illusion cross. - And then a bit of a softer brush down here to try and get that fluffy look, - too. - My feather. - And as you can see, - I didn't really have to mess too much with ingredient as long as I had my round, - flat brush and I was going in and plotting in all my shadows and highlights and then going - back in further and detail ing that out. - Um and then one of the final layers was me doing a bit of correction on lightness and the - contrast because, - as you can see, - it's just a color Dodger. - Later, - I went ahead and and went in and just brightened up some of the spots because it was - looking a bit dull in comparison to the rest of my my reference. - So I just went ahead and did that. - And, - as you can see, - even a bit of the sketches still showing through. - Which is why, - for my final image, - I always just turn that off because it's no longer going to be relevant. - If you've, - if you paint, - it is enough this get shouldn't, - uh, - be of any use to you at the very end. - So so for the rest of you guys, - um, - go ahead and, - you know, - mess around with the brush is a little bit you. - Probably We're gonna need to find some texture brushes. - There are outlets out there that will give you free brushes, - and you don't have to pay for them if you find a place that you need to pay for them. - I wouldn't recommend it just because you can make these on your own. - If you just spend the time and dedication to make them a lot of these I have found on the - Net. - A lot of artists will give you their their brushes, - and now they have no qualms about that. - But again, - these these are the only ones that I really use. - I didn't go overboard with my selection of brushes and even know I'm not pushing down - really hard. - If I were to push, - not really hard, - it was just be very dark, - but versus doing a bit of a lighter one. - But that's about it. - I mean, - I four, - maybe five, - brushes, - tops, - and that that's probably at the rest of the time. - I just was using my what I call my blender my blender brush, - because it's a bit softer and I like to blend it. - It's softer, - but them you can do you even still do this with the regular Photoshopped brushes. - It's not completely impossible. - I just like to get the bin, - that texture in there, - and you can still do this with photo shop. - It's not completely impossible. - As you can see, - it's just a normal round brush. - I can still get in that nice Grady int there so free the rest of you guys go ahead and get - your project started and go ahead and see if you can upload some of your works in progress - . - If not, - just go ahead and work on it and work on it as long as you need to on. - Then we'll go over and see if there's any critiques or anything that I could do it. - Help you guys throughout your process again. - You don't need to do anything this complex if you are feeling very intimidated or timid - about it. - But, - um, - just do whatever it is you can and will go ahead and see whatever your project is, - and we'll go ahead and work through it and that's it. - I guess we'll see you guys in class daycare.