Transcripts
1. Introduction: My mother, she's a cosmetologist. Her profession is to apply aesthetics to hair, nails and skin. I'm doing the same thing just with my iPad with an Apple pencil. I didn't think about it until just now. Hi. My name is Robert Generette III. I'm an Illustrator, Former Educator, and Self-Proclaimed Vector Art Monster. You might have seen my work on ESPN Sports Center, the Obama Foundation, various sports teams, and even on Xbox too. Often I'm asked the question, "How do I get started creating or drawing using an iPad?" What I would like to show was the tips and tricks that I've learned over the last nine years of how to do it. In today's class, we are going to take a drawing that's on paper and we're going to bring it into the iPad workflow. We're going to use the tools there in order to create a coloring page. You should take this class if you are artists looking to move into the digital format, if you simply enjoy doodling or if you're a parent who just want to create nice projects for your kids. I will be using Adobe Fresco, but you're free to use any other drawing application of your choice. At the end of this class, I hope that you will leave with the hunger and the desire to continue to create using this digital format. All right, I'm excited that you're here. Let's get started.
2. From Paper to iPad: Welcome. Thank you for selecting this course. We're going to take that drawing that you have on paper. We want to give it away to escape the four corners of that page that you have it on. Now, this is personal to me because this is the beginning steps of how I'd normally draw whatever it is that I'm assigned to draw. When it comes to my style and my process, I get a lot of inspiration from coloring books and also comic books. In those two different formats, everything is enclosed within the outline. When I first went through college, my freshman year, I was told by professor, "I'm going to break you out of this cartoon stuff that you're doing." But being a defiant zealer that I am I decided that I was going to show him that he couldn't necessarily break that because that was a love that I had. So I found a way to bring that outline style to the traditional realistic look that he wanted my artwork to have and merge them both together. The results is this comic book looking figures, and forms, people. Now the subject of this class is very important because my philosophy is this: If you have a tight black and white, then you will have a tight color rendering. What I'm basically teaching is the first few steps of my process: How to get likeness, how to render things and it all is based on the outlines that you create. Since I'm a sports illustrator, by trait, I will be creating an illustration of the outside line backer for the Denver Broncos, Bradley Chubb, so that the final results would be a coloring page that the fans of the Denver Broncos could actively color and share with their social media allies. Now, I'm drawing an athlete, but you're not obligated to use athletes or people for that matter. Draw whatever brings you joy. The most important part is the steps in which I take my traditional drawing and create a digital composition. Here's what you're going to need to get started. You will need a drawing on paper, iPad, the application of your choosing, I will be using Adobe Fresco, the vector portion of Adobe Fresco, Apple pencil or any other stylus. You can even follow along using a Wacom tablet and Illustrator. I'm the one who's in hopes that you will discover your voice, your own unique style, your own drive to continue working in a digital format the way that you were working in a digital format, and not necessarily the way that Rob Zola will work in a digital format. So let's get ready to blast off with our next step, which will be digitizing your drawing on paper.
3. Preparing Your Sketch: In this lesson, we're going to talk about how to choose the right sketch, layout choices, and how to actually get the beautiful sketches from your paper onto your device. Now, due to the fact that I draw a lot of portraits, a lot of people, my sketches are based heavily on reference pictures, because I have something called likeness approvals to get through, and that can be a hurdle within itself. Especially if you're trying to get the person that you're drawing to approve a drawing of themselves. Due to the fact that this is client based work, I have my two looks here of Bradley Chubb. I have a facial portrait of him and I have a full body. Now, I want to combine both of these. If you recognize something also, what I did was I drew each component individually, and that's where flexibility comes into play. I can take a photo of this, I can bring it into my workspace and make it any size that I want to make it. I can have his face in front or I can have his body in front. If I was to draw this as one composition, it will be fixed and if the client has a change in mind, it will make it very difficult for me to get all way back to where I began unless to phrase Brad coming. By drawing each individual thing in a digital sense, or virtual since, draw breadcrumbs. I'll have a path in order to backtrack just in case something goes wrong, and sometimes it does go wrong. Let's say that you're not working on portraits, you don't have lightness approvals to go through and you're just doing your own thing. It still will be in good practice for you to draw your pieces individually. Each one of the sketches or each one of your individual sketches becomes a piece of furniture within a room, and you can arrange that furniture anyway that you see fit. You may ask, why did I use red and blue instead of a regular graphite pencil, you don't have that great quality there. I chose red and blue because one of these are going to be in the foreground one and these are going to be in the background, so what I did was I did some planning so I won't confuse what's being placed in front of what. If his face is behind the drawing, I need to see clearly what separates his body from his face. Your drawings may not be in red or blue, it may just be in plain graphite or you might have used ink already. That's perfectly fine. This is where your personal preference or whatever makes you comfortable comes into play. But I mentioned using different colors just to spark your curiosity if you wanted to explore doing the same thing, but it's not a requirement. Now, how much detail goes into this? That's based on a purpose. Our purpose today is to create line work that can be later used as a coloring book or a coloring book page or a coloring page. The amount of detail that I have in each one of these is just enough where I can have the underlying basis to place those beautiful lines that we're about to do. How do we get the drawings from this paper onto your iPad? Well, this is 2020, we have the iPad Pro 2020. I'm simply going to take the iPad Pro, use it in order to capture a photograph of this, use that photograph to bring it into Adobe Fresco. You can do the same with whatever program that you choose to use.
4. Digitizing Your Sketch: Now, there's several things that come into play here. This is where creativity actually comes into effect. I can play around with distorting the subject. I can have his face distorted where it is wide at the bottom, narrow at the top from a different perspective, or I can do the reversal of it, or I can simply just go square onto the photograph and capture. So I have his face. Place this over to the side. Now let's do the full body, and I'm going to tap and hold so that I can get that autofocus. I got autofocus a lot going on here because I want these lines to stay as crisp as possible. That is how, or the first steps of getting our photographs from paper over to the iPad. We're going to bring them into our program of choice and that's where the real fun starts from. So now what I'm going to do is I'm going to launch Adobe Fresco. Here's a nice splash screen, it greets me and says welcome to Fresco, Rob. I've been here before so I'm some regular. What I'll do is I'll come here to the bottom where it says Create New and I'll tap on Create New. In the print menu, I will go over to letter, which is an 8.5 by 11 document portrait, and I will launch it there. Ultimately, this is going to be a letter size document, but I'm using vectors so I can work in whatever size that I choose because it's going to translate well when I shrink or enlarge it to fit that format. That's the beauty of vectors and we're going to talk a little bit more about vectors within the next lesson. Here we have the nice and beautiful UI here. We have our tools over on the left-hand side, we have our layer to the right, and we also have a menu on the top and we've got to secure this slow circle that we want to talk about a little bit later here within Fresco. But our main objective here now is to get those pictures that we took of our work into this environment. If you come all the way down right above your color selector, in-between the color selector and eye eye dropper, you'll see a nice landscape of mountains with a nice little sun. Tap on that and it gives us the option of where to pull this image from. Now, I could have taken the picture directly into Fresco if I choose. But since I'm leaving it up to you to use whatever application that you would like to use. I went ahead and added it to my camera roll because most applications allow you to import directly from your camera roll. So I will go to my photos, go to my recent and I will pull up the first image, which is of Bradley Charles head. What I'm doing now is I'm just pinch and zooming away from my document, and I will use this corner tab in order to enlarge. As long as I pulled in a diagonal direction, everything will stay within its own constraints as far as proportions are concerned. So I have that of him there. Once I'm satisfied with it, I can hit "Done". I can also flip this horizontally or vertically. But I'm pretty satisfied the way I have it. Let's move it down a tab a bit there and I hit 'Done". Next, I will repeat the same steps in order to import his body form into the same composition. This image, I'm going to keep a little bit smaller than the face itself. I think that's pretty good. Now, we have taken the first step from liberating our drawings, from being on paper and bringing them into a digital environment. Let's see what else we have in store.
5. Setting Up Your Brushes: In this lesson, what we're going to discuss is how to set up the widths of your brush to different types of brushes. Now, one little note, I made a mistake, what I should've done was crop the photographs prior to importing them in so that I can take the table out of it. To solve that problem, what I did was, I simply went back into my photo app, cropped it, and then reimported it back inside. So this is the before and you can see the table is still in here on this. What we're going to see now is the after. Now, why is this important? Because one of these layers I want to apply a multiply blend to it. With the multiply blend, the dark areas stay and the light areas become invisible so to speak. Since I have this layer on top, what I'll do is I'll come to my layer properties and I will select "Multiply". As you can tell, automatically everything starts to come through. I can see the red areas are the layered S below, my blue area. Just to keep things on up enough, I will apply the same layer property to that bottom layer. Just in case I happen to move or shift something around, I won't get confused on what is what, still translucent all the way through. Now, sizing is looking okay. I do want to take this one of his head shot and I want to move it. I'll select this "Transform" tool and I will lower this down just a little bit, resize it, nudge it over just a little bit. So that way that neck line becomes totally engulfed with his body form. Now, you're probably curious as to why he has on a astronaut helmet. Bradley Chubb seems to be fascinated by all things that deal with outer space, and even down to his Twitter handle which is @astronaut. We have the main two components here, we're going to be draw these individually so that we can have that flexibility to move them around that we see fit. I like starting with a face. I'm going to go ahead and hide the full body portrait. Now, I can focus on a face. What I'm going to do now is called the light box technique, or I call it the light box technique. What I'm simply going to do is I'm going to go into my layer property for this particular layer of his head shot, and I'm going to drop the opacity down slightly to give the effect of the sketch sitting on a light box. Now, let's get into brushes. Adobe Fresco has three different types of brushes. You've got at the top your pixel based brushes, you have with the water drop, the live brushes, and my favorite which is your vector brushes. So if I tap this again because it has a little triangle on the side, it will show me every brushes in the set. We have everything from a basic round, basic taper, basic flat, chisel, terminal, and we can have all these other different taper system here. I'm only going to be concerned with the top two. Let's keep it simple. Besides that I'm going to choose, it's going to be a five pixel brush for my main brush. Now, let me explain. There is a hierarchy when it comes to brushes. I'm going to use this white area in order to demonstrate. What I'll do is I'll draw a straight line. Now, this one has a taper to it at the beginning, which is odd, but I can come in here and look at everything. Now, that taper at the beginning is due to the fact that I didn't have as much pressure on the brush in the beginning as I did in the end. If you don't want the brush to rely on pressure sensitivity going from thick to thin to thick to thin, then what you want to do inside of your brush settings, is you want to go ahead and turn off your pressure dynamics. If you do not want your brush to become thick or thin based on the speed of the point on the surface of the iPad, then you'll want to turn off your velocity dynamics. By turning off both, what you'll do is you'll get a consistent line all the way through regardless of the pressure that you place on the pencil to the iPad. What I want to do is, I want to have five be my main line. What we're going to do is we're going to get into some hierarchies of line, order operation so to speak. So I have a five for my main line, I want a detail line. Let's just put a minus small details. I want it at 1.5. I also want to have my bold print, my heavy print, and that's going to be somewhere around 10 or 11 pixels. So 10.5. We want to be precise. We've got these varying degrees of widths for each line, which is going to place emphasis on different parts of the drawing that we have. This 10.5 will generally be used for separating the whole entire body from something different. This file will be our basic line, while this 1.5 will be for details that we would like to show, but not place emphasis on. All of these is vector. If I zoom in and as you can tell, I went to 12,800 percent, there is no distortion at all. If I was to do the same with a pixel brush at 11, and make sure I have the dynamics turned off. I do. I want to do the same with this pixel brush. Again, a lot of texture, but if I zoom in at that 12,800 percent, we get all these different pixel layers, but from a far it looks just like the texture of a regular drawing pencil. So one is pixel or raster, the other is a vector, which stays smooth. Pixel light stay smooth. This is why I typically choose to use vector. Not that it's better, it's just fits my needs a little bit better. Because when I draw these things, they can be used for print, video, web, assets, a whole ton of things. What I want to do now is I'm going to delete these layers, and this nice little ellipse under the eyeball will help me do that. This is my layer action panel, and I'll come right here to delete layer. What happens if you delete your own layer? Well, you're going to have to start from the beginning. No, I'm just joking. What you can do is you can simply go to your "Undo" here at the top, and everything comes back. This is pretty much working non-destruct. If you want to experiment or try new things, this should be less fear in doing such because you're not technically destroying what you have already.
6. Starting Your Outline: We start with the face. Now, I go and I select my vector brush layer. Come down and I will go ahead and get my 5.0. I'm going to turn it back on my pressure dynamics and my velocity because I like using it. Let's get started. I will start with the eye. Now, with your arch board, you can use two fingers. You can rotate this around, just to get the best angle that suits to stroke that you're trying to achieve. We'll start this one out thick, then we bring it back down to thin. Looking good so far. What I'm going to do is, I'm just going to work my way carefully around this composition, and all I'm doing is sketching the main parts, that's going to have an outline around them. Now, I have this area filled in red, which means in my sketch is communicating to me that this is going to be filled in all black. I don't want to do any fillings, I want to get all of my outlines done first. What I'm going to do now is, I'm going to place an x in that area. That x, just like a treasure map, is going to remind me that I need to fill this area in. This area is fully enclosed and I'll be using the fill bucket tool later on just to fill this area, but I don't want to do that now. I just want to go ahead and get the most done now. I'm working my way around, if I come to an area that needs to be filled in later, I'm going to leave that bread crumb, I'm going to go ahead and put an x there to remind me that that marks the spot, then I'm going to fill in later. But it also forces me to double-check to see if that area is enclosed all the way. Anytime I make a mistake, I can go up here and access to undo button. I don't have to run and go to the eraser. I feel like Scott Pilgrim with all these x's. Another cool feature I want to show you guys that's just been added to this app. Notice how I go beyond the boundaries of these two here, and you probably notice this odd circle that's here. I call it a circle, my modifier, and when I put my finger on it, in the center, then it automatically converts my brush into an eraser, so I can erase. Normally, what we would do if you had overlap like that, which we'll count is, you would take it and you chop it just like this. You're not good anymore. Let me demonstrate. When I press down on it modifier, I get two circles. There's a larger one, there is a inner one. If I move my finger to the outer one, modifier, move it to the outer circle, one line through, and it cuts off the extra tail on ended at one. Does the same for this one, we get that nice sharp shape of that I noted. He likes to get from his barber, and no matter how long ago you made that line, the same thing goes into effect. You can terminate the parts that you go beyond. We almost done with the initial part of his face, and you noticing that I'm getting different widths within one stroke due to the pressure setting that I have there. Now, before I move on to the body sketch, I want to double-check this, just to make sure I dotted all my eyes across all my x's. Let's talk about the basic taper brush, which I have set at a five. It shares the same width as my round brush. With the width on here, it only applies to the maximum amount of pressure being applied, will it reach a five and it will hit that ceiling of a five. I could put pressure down on here, 1,000 pounds of pressure, it won't go beyond the number that I set, but if I lighten the pressure, it can hit a range of everything from one to that number that I have set. The same with this brush here. I want to make sure I have my velocity turned on, so I'll go into my brush settings, turns on. Like I look at my Begin Taper, my End Taper, everything looks good. Now, the reason why I'm coming in with this is because all these fine here, so I wanted to have a skinny beginning in the skinny end, which we call a taper. Here's an example of not letting the sketch dictate what's going to go on in the final composition, I decided to add more detail over here. I'm going to throw x in there because I might fill this along with this. This is all going to become one large area. I'm using these tapers to transition the hair into the beard. This is looking great, I'm loving everything I got here. I think it's about time that we go ahead and move on to the full body.
7. Outlining Secondary Elements: All right, so at this point, we got a nice solid outline here. We got our x's in place. I'm double-checking through just to make sure I didn't skip anything, and if I did, we can always come back to it. I'm going to throw a x here, just so I don't forget. I will also highly recommend seeing how your outlines look without your sketch layer underneath. So I'm going to hide that sketch layer, and that's what we have right now. What I'm going to do with this now is I'm going to take it and I'm going to hide it. Get it out of the way. I'm going to reveal the full body and this is the one to be the next part that we're working on. Full body is here, I'll go ahead and zoom into it a little bit. I'm loving how I see all the texture from the paper. Some of the sketch lines in there. What I'm going to do is I'm going to select that basic round number 5 that I've been using, just so I can keep everything consistent. I'm start working my way around this composition, making notes of the same thing. How we put an x in this parts that need to be filled for later.a little added bonus when we get into all the details here at a jersey, we're going to be switching up. Let's go and work our way with the 5. His mind state when he runs up the tunnel and does his arms out to the side like Buzz Lightyear by placing this helmet on his head instead of the regular football helmet. Next up, we're going to move on to a smaller brush, the 1.5 and we will go in here and we're going to get some of these minor details. They're minor, but is still important.
8. Adding Fine Details: Here we are. So far we have the line work pretty much done on headshot. We have some of the major line work done on the body. What we're going to do now is we're going to take a brush with a smaller width of 1.5 and we're going to go in here. We're going to get all these little minor details. We don't want these areas to be super thick because it might signal to the person coloring that a color change needs to occur there, and we don't want to get that signal off unless that person wants to make a color change. I drop down to a 1.5 and let's get up in here and we started to undo, I did the undo feature twice because it wasn't working right for me just then. What I'm going to do is I'm now going to turn off my Pressure dynamics on my brush settings. That way I got a nice consistent 1.5 line that I'm drawing without having to worry about what the pressure is going to be like in a tight area like that. When doing this, I always make sure I go from one area and connect to the different area. I don't want to leave any gaps in between. I'm loving the results, so I hope that the Bronco fans love it as well. Now, in certain situations, this symbol is a little wave symbol underneath the size of the brush that you're currently using but right above your brush settings. This is your Smoothing. For this project, I'm keeping the Smoothing at a even 50. The higher the value, the more the program will auto smooth it. If I was drawing off road racing with four wheelers, then I want some of my handshake to be in my line work for that because I want the viewer to get an idea of the vibration of the machine underneath the driver. Also everything doesn't have a perfectly straight line, that's the beauty of using vectors in this way. Vectors when used before had to be precise and they had to have a precise curve, we had to use anchors and Bezier points. Here on the number 5, just so I can get this precise. Of course, I'm going to be using my Modifier button. I always call it a Modifier because it modifies the current brush that I have. I'm going to go and delete these points that I drew beyond. Let me go ahead and get the outer lines of this file first before we start doing it, so that way we're just performing a task in a mindless, tight manner but we don't have to really focus that hard on switching back and forth from regular brush to using the Modifier to terminate. Now remember, pinch in so you can see the whole picture. Always give your eyes a rest from looking at the close details. Pinch all in, which I'll zoom you out and then you can really get a view of what you have. My thing is if I'm playing music on a playlist and if it's been one entire song and I haven't pinched, things can go wrong. I'm not saying that they will, but they can go wrong. So I'll get into a habit of doing it. If you go into your settings, but if you look at Input, Apple pencil, double tap, zoom to fit, if you have it there and all you're doing is just double tapping it, it'll zoom, it'll snap to fit the screen and then it'll zoom back. We got a nice little thing going here, but the rest of the line work needs better details, attention to details that is. So what I want to do for the rest of the line is I want to add that taper that we used before. I'm going to switch over to Basic taper. I don't have to change the size of it, It could stay at a five pixel. I just have to be super mindful of the amount of pressure, and let's make sure we got our Pressure dynamics and Velocity check. Some of these wrinkles in here for the jersey. We're going to come in with this because it goes from thick to thin and it just looks great in these areas. Now, don't go overboard with the folds in clothes or cloth because you can go from have it looking smooth to looking like he should've iron before he came out of the tunnel. We don't want to necessarily like he needed to iron his shirt. But these lines always add the bomb detail, just the right detail to any area that you put them in. This is looking pretty awesome. This out of this world. What were going to do after this is we're going to look at both the headshot and the body shot together for both the invisible without the sketches underneath and start to make plans of where these super thick lines are going to go.
9. Super Outlines and Fills: We have the line work done for the full body shot, as far as the basic line work is concerned. What I would like to do we see both together before we start to add fill and do super strokes to the outside, which is going to be our 11 pixel strokes. I double-tap, boom, gives me to full view, click onto the head shot that I did before. Let's go ahead and reveal it. This is looking through a T dope. What I want to do is I might want to adjust the head shot, and I can do that simply by going here while I have that layer selected, the Transform tool. I have all my Transform functions. I can take this and move it here. Just up a little bit more. I'm going to enlarge it slightly and place it there, click Done. This shouldn't change the width at all because that number 11 is going to unify everything together in theory. I'm going to do the same for this guy. I'm just going to move him over this way and nudge him over as well. Decent. Now what I'm going to do is fill these areas in, so I can really get a good look at it, but I'm going to fill them in one at a time. I'm going to hide one, fill one, hide the fill, work on the one that's left. Let's look at the head shot first. Click on the head shot, have the same black selected for my stroke that I'm going to use for my fill and I'm going to select the Bucket tool. Now, let's go over something real quick. I'm going to do to the hair first. But, I want you to see what could happen. I'll go to my eraser, my eraser is at a 1.5, I'm going to drop it all the way down to a 0.5. I'm going to zoom all the way in at about 5,000 percent, and I'm going to draw a gap right there. Then I'm going to zoom out because when I zoom all the way out it looks as though that area is enclosed but it's not. Lets talk about what can go wrong before it goes wrong, when using the Fill Bucket. The Fill Bucket only fills enclosed areas. If there is a gap there and it can be the tiniest gap, either it won't allow you to fill, or it will bleed into areas that you don't want it to go. Let's see what happens when I try to use the Bucket tool on hair. Voila, we end up with that. You don't want that. But the cool thing is, got these nice arrows up here. Undo it, look around for the gap in the area that you're trying to fill. Once you locate that gap, use the Vector tool to close off that gap. Now that that area is corrected, what I'm going to do now is I'm going to go ahead and move to the Fill tool, tap inside and boom, watch it do its magic. If you correctly close all your areas in this part is a breeze to do because all you have to do is simply tap one time within those areas, and color them in. This is a long way from having to scroll using a drawing tool in order to fill in areas. It's really up to the person that's creating the work to determine if it should be filled or not. To me it adds nice contrast to the picture already. With that black being consistent with the outline or stroke, when you add color it's going to make any color that you add within these lines a little more intense. All the fills of the portrait is done. Let's go ahead and hide it. Let's go to the full body drawing and let's start to fill it in. X marks the spot. I notice one little thing with this eye on the far side that I did not do. Let's correct that right now. We have the fills done for this, and let's go ahead and reveal the head shot, and this is going to give us a filling for it. Now, remember earlier when I said that I tried to make sure to close off all of my areas? Here's why. Since we're working on this coloring page, and I have the body shot in front of the head shot, but I don't want to destroy the lines of the head shot that's been overlapped by the body shot. The best alternative is for me to simply use the Eyedrop tool, sample the background which is white, go back to my Fill Bucket and start to fill in areas with white of the form that I have in front of the head shot. By filling in these areas, what I'm doing is I'm solving a problem before it actually occurs. What if the client would like for me to move the drawing of the player somewhere different, if it's filled in with all white, and is still going to remain in front of the head shot, I can move it right on top of his nose if I needed to, and it will hide his nose and make the body form look like it's in front of the head shot. Now, let's talk about hierarchy. If you look at his head shot, the line is nice and thick. Then the form here is nice and thin. I really want these to depart from that background. I'm going to open up a new layer, hit the plus sign, and I'm going to my vector brush, I'm selecting the same black that I use, and I'm going to go ahead and hold down on a number. A keypad comes up so I don't have to use the toggle and slide up and down, try to get it exactly on 11, I can simply hit 11, tap somewhere else and I'm done. I have that set at 11. I don't want any pressure on this. As a matter of fact, I still have my chisel brush on. No big problem. What I'm going to do is, I'm going to go ahead and drop the taper of both the beginning and the end, and it basically transform itself into a round brush. Now I can make my way around these different forms to give them the separation that's needed. I like it, but I don't like it. Let me look at the before and after. I think I know exactly what's the problem. The width is too thick, so maybe I should try something like an eight. I'm going to hold down my modifier, hit the outside of it and I'm just going to scribble, and it should get rid of these strokes for me. Long press on a number, hit eight, tap somewhere different. Let's see how eight works. If you have your auto snap on, be very careful in the tight areas. What is auto snap? You may ask. Some people say that they can't draw a straight line, so when you attempt to do it in this app, if you draw and hold, it will snap into a straight line each and every time. If you're going around these borders and you do a long press, it might not work in your favor. I'm going to also adjust the smoothing, I'm going to lift it up to about 65, that number feels right. Let's look at it with and without. I think I'm going to make a judgment call here. It looks better without adding that third stroke to it.
10. Shading With Shapes: So now that we have that done, let's come in and let's finish his hair cut here. I'm going to select that layer with the headshot, I'm going to add a new layer to it. I want that layer to be vector, but I want to use some shapes in order to do it, and I have this nice little halftone shape right here. I can stretch it, I can rotate it, I can move it. But I want to move it over this way because I want those halftones to transition from the dark parts of his hair down to where it will be faded. So once I have him in position, what I want to do is I want to come in and I want to fill. Adobe Fresco is automatically going to ask me, what type of field do I want to do here? Do I want to do a pixel or do I want to do vector? So far we used all vector, so I want to do vector. So I do a vector field there, and I'm going to make the opacity lighter for this layer with the fill that we just did. Drop the opacity down, so I can see the lines around it. I'm going to start a new layer, and I'm going to use a color that I haven't even use yet and that is going to be, I'm going to use orange in this layer. Now, in this layer, what I'm going to do, just like in barbershops, I'm going to go around the perimeter of the area that I just fill where I'm just encasing only parts that I wanted to fill, I don't I want to be shown. So I'm actually going through and giving him just edge up and everything. Then I'm going to close the area completely off, I'm going to put one big circle around it. I'm going to grab my fill bucket, I want to fill it in, I'm going to go back down to the layer with the stippled dots. We want to increase the opacity back to 100 percent. Go back to my orange layer, and what I'm going to do here is I'm going to merge this layer down, so that it combines itself with the fade layer. Then what I'm going to do is I'm going to take with the fill basket is still selected, I'm going to use the modifier. Press my finger down in a center. What it's going to do is it's going to do an erase fill and I'm only going to apply it to the orange, and there we have a tight haircut with just a few simple auto masking steps that we use. Now looking at this, this is great so far, I see one area here on the foot that I need to fill with white. Go ahead and sample that white, come back up. Fill it in and fill it in. The rest is good to go. What I'll probably do later is just add some more to this, but I think the client needs to see how this look in this black outline form before I make any decision. Because they have the ultimate say on how this goes. So all engine in running. Lift off. We have a lift off.
11. Final Thoughts: Congrats, you made it through the course. We've taken a drawing that was on paper and we applied our line work to it, in the form of a coloring page. It might not seem like a big hurdle once you just said it but with the amount of work that was just accomplished, it's only the first step of many to having that illustration fully done. There is other options such as color, shading, lighting, highlights, all these different things, but you made that first step and I'm proud of you. I can't wait to see what you create. This is Rob Zeller signing off.
12. Bonus: Project Feedback From Rob: Hello, everybody, Rob Zilla here. Today what we're going to be doing is a bonus lesson, where I'll be giving feedback to some of the work that you submitted for my class. The reason that critiques are so valuable is because it allows you as a student and other students, the opportunity or the chance to see someone else's spin on the instructions that were given. By seeing that, it can broaden your horizon as far as what it is that you can do, what you cannot do, or what you might want to experiment on as an artist. I don't think you know how much this really means to me, but having you take my course, I saw so many great projects. It gave me the opportunity to grow myself as an artist. I just want to thank you from the bottom of my Zilla heart. I don't know about you, but I'm ready to see some of these projects. Let's get into it. This project, we got some Naruto going on that Ronald did. What I'm seeing here is some nice, clean lines. I'm also getting a good sense of the hierarchy here. Inside the class, I really stress having different line widths so that you won't have the same stroke on everything. The only thing that I would say that I would love to see, is to add a background to this entire image. Think about it as a story. Where exactly is this character? We need to get a sense of his environment and everything that's going on around a character. Ronald, what I did was, I took your illustration, I hope you don't mind, and I pulled the into Fresco. What I'm going to do is, I want to use a different color and I'm going to draw on top of it. Let's say I go and use the photo blue that I like to use. Here I have my photo blue selected, using a round brush. Since we're adding a background to this, what I would actually do is I will extend the shoulders now, so the shot is not as tight as it was before. What I do is just use basic shapes to show what's going on here. It's a very intense look that's going on here. What I'm going to be doing is, I'm going to be using the line snapping feature for this. With the line snapping feature, what that means is, I'm going to draw a straight line and I'm going to hold it. It's going to snap into place and create a straight line for me. If you can't draw a straight line, it's still no excuse for you not to use this program. I'm going to draw another straight line, just go off the artboard. Another straight line, but what I want to do is have some impact of that intensity. Now your background doesn't necessarily have to be objects and forms. It can simply just be something to enhance the look or the feel. What you can do even further than this is just take that same layer, duplicate it. Let's just use a transform tool and bring this out a little bit more. Now what we have here, we have the same form going on, but it's echoing. If you're working on something real quick and you want to get the impact, having those actual lines from outside will definitely do the trick. Now what we're going to do is, we're going to review Core Ink's work. What we have here is a nice dinosaur. So far, this is looking good. The only recommendations I will make for this will possibly be to go ahead and work around the contours of the body of the dinosaur. I have my brush selected here. I notice that you used a thinner line, so I'm going to do the same. I'm going to use a property like a 4. I want to create a new layer on top. If we're looking at this neck here, I want to move as if I'm drawing right on this dinosaur's neck. If I have a line here on his neck, what I want to do is I'm going to draw that line as if it's actually on the dinosaur's neck. As a matter of fact, I even have either more lines, but it's the rest of the body that you may want to give a little bit more detail to. In case of the tail, instead of drawing a straight line through, I would recommend drawing as if you're drawing on that round surface of this dinosaur's tail letting us know that it's curved and not flat. Even though we're using flat two-dimensional drawing or illustration, just by curving this lines, it gives it the illusion or the appearance that the illustration is now in three dimensions. Jessica Russell, how you doing? Still life, a lot of people neglect still life. I don't understand why. You get a group of inanimate objects and you work on tightening up your process. It's the way that you work, your whole workflow. I'm loving what I'm seeing here. According to what you see, the line hierarchy is what you find challenging. At first, it's going to be. What you did here is perfectly fine, you put everything in the same line. What you did was, you gave us a baseline to look at things. All you had to do was just add a different layer on and you can take that layer and you could add a little thickness to whatever strokes that you have, or adjust the width of strokes that you have. Here, some of the key things I will say is, when it comes to the hierarchy of lines, for one, at the most, stick to three. You know your thin, you got your medium, and you have your thick. What I would say is wherever you want to separate something from the background, so foreground, background. Whenever you want to separate the two, a thick line should be applied to whatever is in the foreground. Then if there's details like what's here in the notebook, those details as they are in a notebook, could have a thinner border. Great job. I'm really impressed. Next artist. It's pretty intimate because of the eye contact that you have with the viewer. Selection of whatever reference that you have was spot on. She also mentioned that beards are hard. Trust me, I know. There's several ways to approach beards. You can have full beards, or you can have just the stubble that's going on here. Now we're in Fresco. I'm going to use the lasso tool. I'm actually going to come around here, right where the beard is. I'm going to select and deselect certain portions of it. I only want the beard selected. I use a modifier tool, so I can cut a hole into the beard. What I'm going to do is I'm just going to simply degrades the beard that you had there before. I'm going to deselect. Next, what I'm going to do is, I want to open up a brand new layer, and I want to come here, the circle triangle. I'm going to go here, but I have in here certain things that I've saved. One of those is, I got my own library of halftones. If I just want it to be expressive and just give this new dad some quick stubble, I will select this. I'll bring it over, then I use Adobe Capture in order to get this into the library. You can do your stippling dots on paper, take a picture with your phone, bring it into capture, scan it. It'll be right here on Fresco for you to use. But I want to take these little halftone dots, and I'm going to place it over the chin where the beard once resides. I'm going to hit fill. It's going to ask me, do I want to use vector, or do I want to use pixel? Of course I want to use a vector because I'm the vector art master. When that whole section or that selection is filled in, I can come here. I can go and load my last selection of the beard that you had before. What I want to do in this situation is, I want to invert that selection. So everything on the outside of it is being reflected, and I want to hit erase. There, what it did was it took the shape where you had the beard before, and just filled it in with these halftone dots. One other thing that I want to talk to you about is to really make this punch. You have a little bit in here now, is that you notice how thick you have the outline here on your letters? That same thickness should be applied to what separates the foreground from the background, or the subject from everything around it. The subject is a dad holding the baby, we should give it the same effect when it comes to the stroke. I'm going to find a stroke that matches that. What I will simply do is take that same stroke and go around your composition. Already, what you started to see, is there's some harmony in your line work now. You can keep the line work that you have, don't erase it. Just add a different layer on top of it, and apply that scene width to your strokes. But other than that, this is awesome. Well folks, that's all we have time for today. Maybe that will encourage you to resubmit a project, or give me an updated version of your project. If you haven't submitted a project, it might encourage you to submit a project to me. Either case, I would love to see you doing Skillshare Sundays where I can come and give you feedback on your projects. It's very important that you keep drawing, keep practicing, keep wanting to learn. Down in the class resources, I've dropped a few classes that you might be interested in if you want to continue learning. Be sure to check those classes out, and remember, keep drawing. This is Rob Zilla. Go.
Robert Generette III, Illustrator, Educator & Vector Art Monster
