Transcripts
1. Linearttrailer: Welcome to Line Art Master. My name is Hardy Fowler, and I'm a professional illustrator and concept artist. I'm calling on all artists out there with a passion for drawing from beginners to professionals. If you want to take your work to new heights and learn the incredible power of the digital medium, this course is for you. Leinart is a beautiful, timeless, standalone art form and also a critical foundation for virtually all other forms of art. In a series of enjoyable, succinct lessons, I'll show you my professional level techniques and tricks that will demystify the entire process of creating stunning Chris Blind. Our projects with Adobe Photoshopped Digital media makes this process easier and more accessible than ever, and I walk you through every tool in technique that you'll need to get amazing results fast . But this course is so much more than just a drawing. Demonstration will teach you every core concept you need to know to start thinking like a professional artist to tie it all together, we offer responsive support. It's a really fun bonus content to make sure that every student can take their work to new heights. Don't miss your chance to level up your skills. You can do this. It just might lead to a dream career. So enrolled today. Grab your stylists and let's paint cool stuff.
2. 1 lineartintro: Hi, everyone. This is Hardy and welcome to Leinart, Master, this is going to be a Superfund invaluable course for any artist. So good on you for signing up, whether you're looking to break into digital art or if you're already a seasoned pro, this course will unlock new levels of confidence and draftsmanship in your digital Leinart . We'll show you how to use Photoshopped to draw like a master. There are some real game changing techniques and ideas we'll discuss here, so I'm excited to get started. There are no prerequisites for this course, and most of what we'll do is in the beginner skill level range, but will stretch ourselves a bit into some intermediate level stuff near the end. I do have free courses on photo shop and art fundamentals if anybody wants to brush up on basics before starting this course. Since drawing in Leinart are so fundamental to other, more challenging levels of digital painting will really stress basics and technique in this course, so that everyone who complete it will be doing better. Cleaner and more professional looking digital drawings carry those foundational skills forward these air core skills that you can really bank on is an art professional. As for equipment, I'm using an I Mac with Photo Shop CC. This will all work well on PC, but some of the keyboard shortcuts that I mentioned will be Mac specific. The most important piece of equipment is a pressure sensitive tablet up using the wakame into his 34 years, and it's worked very well. But any pressure sensitive tablet with a stylist should work well for this course. It really simulates the natural feel of drawing. It is a must for this course. Let's take a look of the course outline. The lectures ahead will focus on concepts and theories about Leinart and why we do certain things the way we do. These include digital Leinart, overview line hierarchy, communicating shape with line and finally communicating texture with line. Once we've covered those subjects and you're all thinking like line artists will dive in with some photo shop exercises and start making some art. We'll take an in depth look at the tools will use, and they do some really fun worksheets that will get your hands and eyes used to the drawing tools that photo shop has to offer. We'll cover sketching and editing and then making Chris Professional Line are you won't believe what you're able to do. Finally will put all of this knowledge to use with our awesome main course. Projects will go from a blank canvas through the sketching and ideation process and end up with some very sharp looking professional line drawings. I'm really excited to share this course with you guys, and there's a lot to dig into. So kick back, grab your stylist and let's draw some cool stuff.
3. 2 overview: Oh, hi, everyone, This is Hardy in this section will take a broad look at the merits of line art in general. Digital Leinart specifically instant key guiding principles for both. Leinart is awesome. It's a beautiful standalone art form and is also an incredibly important foundation for virtually all other forms of visual art. Good drawing and Leinart skills will strengthen anything you end up doing downstream, so this is really a worthwhile skilled a master, and the digital medium makes it easier than ever before. Digital line drawings are infinitely re workable and edit herbal. This is enormously liberating and last for much quicker growth in progress. You don't have to Philip a waste basket with sketches that you don't like. Just hit, undo, erase or transform, and you can change the marks on the canvas as much as you want. There are no unwanted smudges, no ink splatter, no spilled coffee on a finished drawing. Everything is clean and under your control. It's the ultimate safety net. Another huge, time honored benefit of line art is that it is the quickest, most economical way to get an artistic idea out there. A quick sketch or even a more refined ink. Drawing still takes just a fraction of the time that a valuer color painting would take. This makes Leinart of great collaborative or explore it of tool, get lots of ideas out there in a short amount of time. So how do we do this? What makes good Leinart when you think about it, it's an amazing thing that we could make a few lines on a canvas and come up with something that our eyes and brains can interpret is a recognizable three dimensional object. You can achieve some amazingly complex results with Leinart, all depending on how we organize and execute our work. Let's check out some key concepts and bear in mind that will discuss in greater detail in the lectures ahead line hierarchy. To those who like bringing order to the chaotic world of art, this concept will really appeal to you. Line hierarchy is a way to organize the thickness and boldness of your line work, depending on how prominently you want. A shape or area to stand out to put it simply are large. Main forms have bold lines and are smaller. Secondary shapes and details have finer lined when mastered this concept really brings that clean, professional look to your drawings. More on this in the lectures ahead, communicating shape with line. Now this is a big word. How do we use lines to let our viewers know the shape of something? Now? Of course, we can all think of simple two dimensional shapes like circles or square, but here will learn how to use Leinart to show three dimensional complex shapes. Are these objects flat or round? Do they overlap? Do they intersect? We'll check out some concepts and techniques to make sure that your line art objects are communicating the shapes that you have in mind. Very cool stuff. Communicating texture with line. Another really powerful concept here will use Leinart to give our viewers a sense of the texture of the objects that will draw. Is it smooth, bumpy rough or to take it even further? What is it made of? Is it something smooth and man made like plastic, Or maybe something earthen like wood or stone, or even something organic, like animals? Skin we can do. Some really settle things with Leinart that have a huge effect on what our viewers perceive . So that's a good idea of the broad strokes of digital Leinart. Keep these general guiding principles in mind as we move forward and you'll be off to a great start.
4. 3 hierarchy: Oh, hi, everyone, This is Hardy. A good first concept for us to explore in detail is Leinart hierarchy. This is the way that we organize the forms and shapes of our subject in order of importance , and we give heavier Boulder treatment to the more general important shapes. When used correctly, Leinart hierarchy makes the shapes and textures of the image much easier to understand, since different line weights are doing different jobs. I usually think of these in three levels. Primary shapes, secondary shaves and fine detail. Let's check out this example to show you what I mean. We'll start with some very thick, bold lines to describe the main forms of our subject. These were the big shapes, including the outside perimeter and maybe some large interior shapes that we need to delineate different parts of the subject. Basically, we're saving these very bold lines for only the big main forms of our subject. Next, let's move into secondary shapes, these shapes, or when we start breaking up the interior of our subject into smaller, more complex areas, things like the borders of clothing or perhaps the doors or panels on a car or other vehicle. Still very important shapes that we want to define from one another. But the shapes aren't quite as large or overarching is our primary shapes. So yeah, that's stepped down in line. Thickness helps to separate the two groups. Finally, let's check out some fine detail lines. Thes air, very thin lines meant to describe subtle surface details, things like wrinkles, tears or maybe buttons on clothes, little scratches, surface imperfections or other minor texture details on a car or vehicle, even small accent lines help us to define shapes or just act is artistic touches. Those all belong in this final level of our hierarchy. We want these lines to be very subtle and low profile. If we set up our primary in secondary lines, well, our detail lines will sit nicely within them and really help to communicate the form and textures that we want to show. Now. This example is a bit of an exaggeration. You don't really need the line thickness to vary quite this much, and you certainly don't have to approach your work in order of hierarchy. Like we've shown this one. It's totally okay to jump from Maine shapes to find detail and back but this is a great example of the concept of line hierarchy. Keep this general organizing principle in mind and your Leinart will have a very coherent, crisp and professional look.
5. 4 shape: Oh, everyone, this is Hardy. In this lecture, we will explore how we can use lines to communicate complex, three dimensional shapes. When you think about it, this is a pretty amazing thing that we're trying to accomplish. Somehow we're gonna be making some marks on a flat Candice and try to trick our viewers minds into perceiving a three dimensional complex shape. Fortunately, our brains are hardwired to kind of connect dots and seek out shapes and patterns. So if we keep a few principles in mind, we can pull off some really great effects. Let's check out some basic two dimensional shapes and their three dimensional counterparts circles square and triangle, and will use Cylinder, Cube and pyramid. Is there three dimensional partners now? We're not seeing any interior line detail at this point. There's nothing to describe the surface of these shapes at all, but because we're using lines in perspective, thes three dimensional shapes have the appearance of form in volume, even though both the two dimensional and three dimensional shapes air made up entirely of simple lines of a single uniform thickness, the cube cylinder in pyramid seem authentically three dimensional. This is because when our eyes and brains perceive multiple planes or sides of a shape. We make the mental jump of constructing the entire three dimensional shape in our minds. That's why just a few lines can make us see a three dimensional shape. Now this illusion can be spoiled very easily if we get sloppy with our perspective or are craftsmanship. So take the time to make your basic shapes correctly, and you'll be amazed at how much you can rely on the way people perceive shapes to complete your illusions for you. Let's take this a step further and add some interior detail to these shapes to further communicate three dimensions. As I add in these accent lines, notice this special attention I'm paying to the three dimensional contours. I'm making the lines adhere to the planes that I'm trying to show for the cylinder. The lines curb around the outside edge for the flat ends. On all of these shapes, I'm adding fairly straight accent lines as if they were all following the surfaces that exist in three dimensions as a final trick where we have a hard angle, like on the cube or pyramid, I'm changing the direction of the accent lines. This really helps to cement the idea of a three dimensional shape with multiple sides. Next, let's check out a really cool concept that I call surface compression. This is where we make surface details on the planes that we define compress as they recede in our image. I'll show you what I mean. Let's take a look at this circle with this pattern of smaller, roundish shapes. Inside looks pretty flat, right? Like it's a pizza or something. Well, if we start to compress the circles out near the edge of our main shape, making them flatter and more numerous than suddenly, this circle starts to look very spiritual and three dimensional, like it's a cratered planet, a very powerful and handy concept to use in your Leinart. Basically, it's up to you to think three dimensionally and make both your main shapes and accent lines work for this three dimensional illusion and not against it. Keep these simple ideas in mind, and you'll be able to create some really convincingly three dimensional, beautiful, complex shapes, all just with lines on a flat canvas
6. 5 texture: Oh, hi, everyone, This is Hardy. In this lecture, we will discuss how we can communicate texture with line. This could be tricky, since we don't have light or shadow toe work with no color and no photo textures that we can borrow from. But there are some really cool things that we can do with minimal line work. It will communicate huge amounts of texture information. Let's check out this simple shape and look at ways we can give it some very different texture information. We've got just the primary shape to find here with bold lines, So we use our fine detail lines to add in that surface texture information. Let's make this look like something smoother metallic. All I'm doing here is adding in some parallel lines to reinforce this primary shape. Matching these fine lines to the boulder primary lines always reinforces the shape and makes the object seems smooth, since the lines air straight and mostly uninterrupted. To add a bit of interest in detail, Outbreak thes up and add in some little squiggles. This implies minor imperfections in the surface or light shining off of something smooth had some further texture detail. I'll add some little tick marks here and there to imply minor scratches and blemishes to this. Suddenly, this shape is looking pretty metallic. I'm always keeping the three dimensional shape in mind when adding in these accent lines. Okay, that's pretty cool. Now let's try something totally different. We're gonna make this same shape, look very organic, like something that's alive. The first thing that I'm going to do is a race away. A bit of these interior primary lines will sort of scallop out the inside of this bold line . Work in random ways. Make sure you vary the size of these little divots. Already, that gives this sense that this is not a smooth shape, but one made up of lots of undulating curves. Okay, pretty cool stuff. Next, I'm gonna come back and add, in some lines, coming off of these little scalloped out shapes. This starts looking like little folds of skin or scales overlapping one another. This arrangement of lines where we have one line overlapping another in coming to a taper edge is a device that I use over and over when rendering organic forms. It looks like tissue folding over and instantly gives our object of very organic feel. We can do all sorts of other things with our accent lines to further reinforce this effort . Long curvy lines to imply stretching skin, tight formations of little C shaped bumps to imply a pebbled skin texture. All great ways to give us that organic feel. Isn't it incredible? Have different. The result is when we apply a different texture technique to the same basic shape. Finally, let's go for a stone texture. I'll use a cube for this now. The first thing that I like to do is to imply Cem chipped edges. Stone is very strong but often prone to chipping. It's sharp corner. So that's a great bit of information that we can get across CEO. I'm just erasing out some imperfections in these corners Already, we're starting to get this sense of a stone texture next with accent lines. I'm going to imply some brick lines is if this cube were a stack of bricks, it's important to follow the perspective established by our primary lines for this, So I'm making these lines very carefully. In addition to the brick lines I'll add and some other little tick marks or collections of tiny curves to imply little pits in the stone. Also weaken. Take these chip marks on the corner and expand them to the interior. Really help enforce both the shape and the stone texture feel Isn't that cool? It's hard to believe with Just these accent lines were able to achieve such a variety of effects will put these concepts to great use in the exercises and full projects up ahead.
7. 6 toolsbasics: Oh, hi, everyone, this is Hardy. Before we really get into the core of our line art projects, I thought this would be a great time for us to go over the very basic tools and functions that will be using to create line heart With photo. SHA. Once you have a working knowledge of these basics, you'll be able to do the work sheets and exercises in the lectures ahead. And that's where you'll see riel improvement in your line work. So this is a really important first step towards making art with Photoshopped. I've got the brush tool selected. I've just got a very normal default round brush. You can see here in the brush editing menu, which I've pulled up by hitting F five. You could bring that up and make it disappear just by hitting F five, and you can see my basic brush brush shape. It's just a circle you can see if I just sat spacing and I'll keep the spacing around 25% and I want to first show you what the Wake, um, tablet does for us in terms of pressure sensitivity. Right now, none of these jitters are checked, so when we make a mark, it's just a flat line. The thickness does not change. It's just a single uniform mark. But if we go to shape dynamics, you can see I have that set to pin pressure under the size jitter. And what that does is very cool. It lets us make a line. That's thickness varies depending on how hard we push down on the tablet tightness, spacing up a little bit more to make this smoother. But it has a really nice effect of almost making it look like ink calligraphy. When you press hard, it makes a thick line, and when you press softly, it makes a thin line. Now I'm gonna fill this campus white so I can clear it and start over. You probably won't use that a whole lot, deliberately making thin to thick lines like this. But what's really nice is it gives your more casual sketching a much more artistic and captures a lot of more expressive line work that you see in traditional media. Just to show you the difference between that, I will uncheck the shape dynamics and you can see the same squiggly lines don't have nearly as much personality is these lines up above that have a nice, thin to thick variation. So just a very cool feature that the wake, um, tablet lets us use in conjunction with the software. So we're going to start some basic sketching, and I've put shape dynamics back on so that we can have that nice effect in our sketching. So it starts in basic sketching. I'm going to create a new layer, and I will name that when sketch, you can change the layer name just by double double clicking layer one When it pops up there, I like to knock the opacity back on my sketch layer back to around 20%. You can change this by just hitting the number keys, and it will change it by, uh, factors of 10. If you have the arrow tool selected just a neat little keyboard shortcut. But I'm going to select the brush tool again. And the way I like to sketch is just to kind of feel my way around the shape The beauty of photo shop is. You don't have to worry about making a mistake or or doing anything that that you can't undo because it's all infinitely re workable. You don't even have toe crumple up a piece of paper if you don't like what you're doing. So sometimes this means you can trace over the same line again and again until it finally gets to that desired shape that you like is a good exercise. I'm doing my best to draw a perfect circle, which is very tough to do Freehand on a sheet of paper. But that's the beauty of photo shop is Aiken. Rework this as much as I need to, and it will be just fine. So that's pretty close. It looks like I've got a few parts that are a little bit out of perfect circle. So what I'm gonna do now is hit command T, and that puts this box around our sketch. What we can do now is change the size in either direction. If you hold down, shift and select one of the corner modifiers, you can change the scale. What I really like to do when im sketching is if you hold down control, it brings up all of these other transforming functions. Distort is a very useful one. It allows you to make something move around, it seems very three dimensional, but the one that I find most useful is warp. It separates your sketch into nine subdivisions there, and you can make some very fine modifications. So that's if you're sketching, Ah, human figure of face that seems slightly out of proportion. This can really save you if you just need to make some tiny, tiny modifications. This is really a lifesaver and again, one of the huge advantages over the digital medium versus traditional media. If you have something that looks 90% great, but just as something that's bothering you, then, ah, thes transformed tools could be a huge lifesaver at the end of the sketch. The other great advantage is you can erase away all these stray marks that don't look quite quite right. There obvious construction lines that show the process I was going through. And honestly, sometimes they can be kind of charming to leave in your sketch. Show the hand of the artist a bit, but you can erase away completely. There's there's no trace of it, like there would be if you were drawing on a sheet of paper, but it's a good way to clean up your sketch and make it look very professional. So not quite a perfect circle, but you can see how we we can find tune things after the initial marks are made and get it much cleaner and much more correct. Just with a few techniques like the transform tools and the erase tools to clean it up. Another incredibly powerful editing tool is the liquefied function. This allows for some really fine manipulation and can allow us to fix minor issues with your Leinart with a great deal of precision. I've worked up a quick example sketch, and let's say that certain parts of this just aren't quite right, not really the way I want them to be. All we have to do is hit command shift and X, or just go up to the filter menu and hit liquefy. This brings up this new window, and we have some new tools available now. I really only use this tool that looks like a hand pushing a line. I think it's called the Forward Warp Tool. I keep the density and pressure settings about where you see them here, but feel free to adjust this. If you want to nudge these lines mawr or less forcefully with this tool, I can push these lines around in any way that I want. I'll start with a large brush diameter to make some large changes, pushing this entire area of the sketch over a bit. If I want to make some small, fine tuning type changes, I can just shrink my brush diameter with the bracket keys. This works for the normal brush to is, well, bracket keys. You can quickly make your brush bigger or smaller, a great keyboard shortcut. So with my smaller brush, I couldn't push thes really small areas of the sketch around, and I can make some incredibly precise changes. The only issue to keep in mind is if you manipulate thes lines too much, it can start to make the lines look a little bit squished and worn out. So use this tool with some restraint. There you go. You can really see the precise changes that we've made. I'm just hitting Command Z here to go back and forth before and after. Command. Z, of course, is the digital artist best friend. Liquefy is incredibly useful, even if you get to the end of a project. You can use this to make subtle changes to fix things that aren't quite right. If a portrait or a figure drawing has some proportions that aren't quite looking right, liquefy everything into proper place. This is nothing short of miraculous for anyone who has gotten to the end of a really involved drawing or painting and has noticed something that's not quite right, So this can really be a lifesaver. Another nice and relatively new feature that Photoshopped is introduced is thes smoothing function for the brush tool believe this is only available on photo shop CC 2018 or later. So if you haven't updated your version in a while, this feature is actually really worth the trouble. The smoothing function can be found near the top of the screen as this percentage slider. What this does is it actually steadies your hand for you and make sure lines more smooth and precise. Let's make a few lines to demonstrate. First, I'll turn this completely off down to zero. Now we'll make a few lines. You can see that the stylist is capturing every tiny jitter that my hand makes, and it can make my lines look kind of ugly and amateur, especially if I'm making these lines slowly and without much confidence or experience. Now, if I turn smoothing up a bit, say to 50%. We could make all of these lines again, and you'll notice a dramatically smoother quality to the lines They have nice, gentle arcs and overall look much cleaner and more professional. The downside is that this slows down the process considerably and could remove a lot of the expressiveness from your Leinart. So I encourage you to experiment with this and find the exact percentage that works best for you. I like to work in the range from about 12 to 25% depending on the kind of work that I'm doing. I find that to be the right balance of all of the pros and cons of this feature. If you have an area requiring long, steady lines, just dial smoothing way up is needed, and you can always return to your normal preferred settings afterwards. This is a really useful tool and can help you get some really nice looking lines right away . But as your art teacher do need to remind you that no tool can magically replace practice and experience, so use this is a good boost. But remember that repetition and practice are the best way to see rapid improvement in your work. Okay, that's a general look at the tools that will be using to create Leinart. Next will put these tools to use with some fun exercises.
8. 7 sketchingconstruction: Oh, hi, everyone, this is Hardy. Okay, now that we've taken a good look at the concepts in theories guiding good Leinart, let's put some of this knowledge to use and start making some marks. It's time to pick up the stylist and start following along with what we're doing here to get you familiar with making Leinart and drawing with photo shop, we'll go over my three favorite ways to jump in and get a project started. The daunting blank canvas is often the hardest part of any projects of these techniques. Will try here will show you some great ways to get the ball rolling. We'll call these techniques construction, gestural editing and finally, good old tracing. Photoshopped makes all three of these time honored Leinart boosters easier than ever. Let's start with construction. Basically, this is where we start a project by defining simple, very general shapes, and then we refine and add detail to make our sketch take shape. In order to do this, we need to be able to visualize this simple shapes that make up more complex forms. So let's start by checking out some photos and we'll sort of reverse engineer these. Okay, cool, a young horse and a bulldozer. Now, obviously, these air fairly complex forms. The horse has loads of curves and masses, defining its complex body and the bulldozers and equally complex subject, a collection of intricate machinery and moving parts. On the surface, these seemed like very difficult Leinart subjects to tackle. But let's break these down. To vary simple shapes, the horse can be simplified to a series of ovals and cylinders. For the most part, the bulldozer is more angular, so we can divide this into a series of cubes. And trap is oil shapes for the most part, the wheels. Naturally, our circles. This is the core concept of the construction method. We reduce the subject to its most basic shapes, and then we refine and add detail to arrive at the more complex, fully realized final product. Let me show you how these steps work going from the ground up. For this example, let's draw stegosaurus using the construction method. We start with the most basic core shapes, basically a big egg shape with a small oval for the head in a long, sloping tail. We then add in some secondary construction shapes, ovals for the legs and some more cubic shapes for the feet. And then some triangular projections for those cool stegosaurus spiking back plate things. Now a quick pause to remind you of what we've learned in the basic sketching lecture that we just completed. You can use any of the transform tools or even liquefied to change and refined things at any step. So if something isn't looking quite right with these general shapes, just a race and redo transform or just liquefy the problem areas until they're just right moving on. Once we have the basic shapes roughed in, we use this as a framework, and we start a new pass. On top of these shapes, you can reduce the opacity of the basic shapes on the layer panel. And then it's sort of like you're just tracing the general shapes but adding a little more detail and complexity, a great way to go from a blank canvas to a pretty detailed sketch, using simple shapes as a framework. Next, let's check out gestural sketching. This is where we kind of let our hand go nuts and start making marks on the page. This is really a feel your way through kind of method. In fact, you can count on making lots of bad or incorrect marks before you zero in on the right one . But because photo shop is so infinitely re workable, you can just you race or hit on. Do if you don't like something as you feel your way through these early scribble marks, learn to listen to your instincts when you start to see something cool, emerging from the chaos and then just follow it. Thanks to the digital medium, you never have to worry about messing. Anything up is the sketch takes shape. Loose scribbling marks could be erased away, and you can add in some more deliberate brushstrokes. You'll be amazed at how liberating and express it This type of sketching can be. As you can see, in a pretty short time, we can turn something that looks like a garbled mess into a fairly refined sketch, and we're on our way to a pretty cool on drawing. Finally, let's check out Tracy Now. This is exactly what you're thinking will put a photo or other reference on a layer and will just draw over it on a layer above first. Let's reduce the opacity of the reference image, which could be done over here on the layer window. This is helpful because it lets us see the image will be tracing but are drawing marks will stand out. Tracing is a bit stigmatized, since it's essentially copying a preexisting image. So I would encourage you all to either use photos that you've taken yourself or that you have permission to use. But I feel no shame for tracing. I use this all the time in my professional work. If a certain object or opposes just giving me trouble. Just take a quick picture with your phone and you're on your way from there. It's just a matter of following the contours of the reference object is I've done here, and once the drawing is complete enough to stand on its own, go ahead and turn off the reference layer and continue to develop it. The photo should just be enough to get you off the ground. The sooner you can start making this get your own and let it take on its own artistic personality. The better down the road will use tracing to make the jump from a sketch to a finished ink line drawing. So these air great skills to practice you. So if you haven't already, go ahead and download this exercise sheet. It's a PSD file, and I've got all of the layers set up for you so that you can try out all three methods. Since gestural is kind of a free for all by nature, feel free to do absolutely anything that you want. It doesn't have to be a face like I've drawn here for the tracing part. Remember that you can adjust the photo layer opacity either by sliding the opacity bar or by hitting the keyboard numbers. When you have the move, Tool selected in the opacity will match the number by tens of very handy show Orca. What you've given these exercises and try. You'll be feeling more confident in your mark making, and you'll always know how to tackle the blank canvas.
9. 8 crispprofessionalines: Oh, hi, everyone. This is Hardy. In this section, we will discuss in practice and techniques for creating Chris Professional looking Leinart . I've created a fun exercise sheet of Leinart task, and you should follow along with me. So for this stage of a project, we are no longer making sketchy lines. Our concept and shape should all be defined in a rough sketch by now. And here we're doing a refined final pass to make clean, sharp looking finished product lines. If we think of the sketch phase is a light pencil drawing, then this phase would be the ink. So to familiarize yourself with the feel of this phase, just trace the examples on this sheet, and it would be really good practice for sketch tracing in our main project will be making more confident and deliberate brushstrokes, since in a real project, we would mainly be tracing an underlying sketch. It's also a really great way to compartmentalize tasks so that you don't have to be thinking of every part of the big picture it wants. This exercise will also show you some really handy ways that Photoshopped can make some really clean and geometrically perfect lines so loads of cool techniques here, let's get started. I've set up a bunch of different exercises here, and we're gonna check out each one individually. So just follow along with me as I go through these, and you can just kind of trace the light blue exercises that I have set up here. That's what we're gonna do before we get started. Let's talk a little bit of brown, my brush settings. I've just got the brush tool selected with black in my color picker. If you ever want to just set your colors to the default black and white, you can just hit D, and it will bring it back to that default state automatically. So no matter what colors you have going on in your foreground or background, if you just hit D, it returns it to black and white. So a great way to just call up black. If you need to paint with that right away for my brush settings, I'm gonna hit F five and we'll take a look at that. Just a default round brush that the spacing is on 25%. That's usually a default to, so that's what we'll leave alone there. The first thing that I want to look at is smoothing. We talked about this a little bit earlier in the course, but let's check it out in practice. Let's do it a few different percentages just to get a feel for it. We'll start with zero, and I'll try very carefully to follow this. And as you can see, even the tiniest little jitter my hand makes gets picked up. You can see some tiny little waves, so let's experiment with taking this up a notch. Will try around 50%. 49 close enough, and as you can see, it happens a little more slowly. It's sort of like we have to pull a little bit harder to draw this line out, but a much nicer, smoother, gentle are concur. Very cool is another experiment. Let's kick it all the way up to 100 and try it again. So this is where you feel like you really have to pull. But as you can see and even more extreme version of that very smooth lines, very cool stuff to work. I usually keep it around 12 to 25% so I think I'll just leave that 12. That's what I'm most comfortable with. So check out smoothing a really cool function. Next, let's move over here. This is what I call Photoshopped geometry, so I'll create a new layer for this new exercise. This is where we can use some of the selection tools that photo shop has. And we just tell Photoshopped to stroke a line outside of these selections. This 1st 1 I'm gonna uses call the marquee tool. It's basically a selection tool. You can make it either a square where if you hold down, you can change it to a circle. And there are some other options to we'll just be using these 1st 2 Let's try square. If I hold down shift, it makes it a perfect square. But I'm gonna release shift and make it a rectangle like this. Now, once we have that selection made and you can see those marching ants, we just go up to edit and stroke and weaken. Tell it how many pixels wide we want our stroke to be. I'm gonna go with 11 pixels. So there we go. That's a way to get a nice, perfect square outline on. Ah, marquee tool. Let's make an accent line inside just to try this again. Kind of a good exercise. Try to different line thicknesses. It's the same thing. I went to edit stroke again, and this time we'll do four pixels. So, just like that, we can try this with the circle tool as well. So I will drag out a circle Marquis, see those marching ants and then I go toe edit and stroke. We'll do 11 pixels again, and there we go. Easy is that Let's try this little accent line a lighter weight detail line on the interior again and it stroke four pixels. Easy is that now? Another way to get some pretty cool kind of perfectly straight lines is with something I call shift clicking. Now for this, we actually have to turn off the pressure sensitivity of our tablet. So I'll hit F five and bring up our brush settings. Go here to shape dynamics, and all you have to do is turn it off. This is where we disable the nice tapering lines that we can get and just have this uniform thickness, and what we can do here is click and hold down shift and then click again. And if you hold down shift, it will sort of jump and connect the dots from point to point. And you can go all the way around any kind of geometric shape that you want and your lines will always be perfect. Straight, perfectly straight. So I'm gonna try that again with a little inside interior detail line for some accent just to sort of demonstrate this concept very easy stuff. In a great way to tackle Cem perfectly straight lines. It might be a little more challenging. Another way we can make perfectly straight or perfectly geometrically, Kirby Lines is by using something called Path. So over here on the layers tab, it's sort of the neighbor for layers. We have paths. I'll create a new path, and it brings up the pen tool hit P on your keyboard for that, And what we can do here is put down a point, another point, and then watch. If you press and pull, it gives you these little modifier handles. It gives you a lot of control over where these curvy lines go. You can make perfect circles perfect arcs, just about any shape you want depending on how far you pull those little modifier handles. Now, if you want to make a perfectly straight line, you just hold shift and it will jump the point over there. Same thing here. We'll just finish this shape off with some perfectly straight lines. And once you complete it, the path is finished. Now, obviously, that's not a line we have just created sort of the framework for a line. So what we do is get our brush tool selected again, and I'm gonna use my bracket keys to make this brush bigger to 10. Now, make sure we're on the layer that we want. And when we have our path, we grab it and bring it down to this circle. That is the stroke path command. And as you can see, I'll hit Undo so you can see it again. It just put a line around the path that we made so cool. Very simple way to get an instant perfect shape with a line around it. And you have a lot of control over that. Those modifier handles are really incredible. One more thing I'd like to show you is that weaken stroke Marquis selections again with the marquee tool, and then we can transform those. So let's stroke this little circle. Let's do 11 to keep these consistent. But then, if I hit free transform, I can move this into pretty much any any shape I want. So don't forget that you have a lot of control. Even though the marquee tool won't instantly make this angled circle, it just adds a step. You just make a selection, stroke it. And then if you hit command T, you congest transform it into any configuration that you want so very, very handy stuff. If you're making the wheels of a car or headlights anything that needs a perfect circle or any, any shape, really, you can just make it with the Marquis tools and then just distorted into position extremely handy stuff. So moving along, we'll try the parallel lines exercise, and next Now I'm gonna take smoothing up just a little bit. Let's try 50%. So I'm just gonna do one long straight lines. Yes, straight. See how steady my hand is today. Okay, pretty good. Oh, and actually, you know what? I'm gonna turn shape dynamics back on because I noticed that my pressure sensitivity was off. So let's try this again. There we go. Took me a few tries, but there's always undo. You'll see me hit that a lot. The next tool I want to show you is the clone stamp tool. This is awesome. It basically makes a perfect copy of a line. And then you can paint a perfect twin of it right next to it. Great for making mechanical looking things that have a lot of symmetry and parallel lines. So once we have the clone stamp tool selected and it's s is your keyboard shortcut, bring it over to the area that you want to sample. So what are we going to copy? What? We're gonna copy this line. I'm holding down Ault or option on the Mac keyboard, and I'm gonna click an area that I want to sample. And as you can see, it's sort of showing me what that's going to be. So once I have that selected, I'm just going to paint in with the clone stamp tool. And there we go, just like that, A perfectly parallel line. This is really handy when you're making mechanical things. Man made objects. It really adds a lot of solidity and a great look to it. So if we want to copy this more, I'd like to show you guys another cool keyboard shortcut hit V to select the move tool and then hold down option and shift. And if you just pull that over to the side, it makes a copy. You have a new layer, and we can do that over and over again with the move tool selected option shift and just pull it over to the side one more time. You can see how fast that could go. Really easy way to do that. One more thing with the clone stamp. One of my favorite uses for this is to make rivets. If I'm doing some kind of machinery, all you have to do is draw one little circle, one little bolt. Switch to the clone stamp tool. Sample that area by holding now alter option, and you just start painting them in with one click. You can immediately put rivets all over an entire entire vehicle in practically no time. So great ways to use Photoshopped to perfectly copy your line work. Give it a really professional, very crisp kind of machine looks of great stuff there. Moving on. Let's check out a cool way to make pipes and tubes something that is very hard to do. Freehand Because pipes and tubes have perfectly parallel edges. It's the same distance here as it is here as it is here. It takes an incredibly steady hand to do that freehand. But Photoshopped makes this super easy. So let's check this out. I have created a new layer and I'm gonna make one big, very smooth line. So let's do that now. Whips. I've got my flow at 60%. I'm gonna put that at 100 so I have a nice, bold line. There we go. Just sort of following this our king shape. Let's have a smaller one down here. Just like the exercise and perfect. Okay, close enough. Now what we're gonna do is select the pixels on this layer. If you go over here to your layers tab, any of these images where my mouse is hovering here. If you hold down command and click on them, you'll see it makes a selection around all of the pixels on that layer so we can do it on any later. Let's try our first exercise. You see that it selects anything in that later. So command click and we'll see. We have a selection of those two marks that we just made. Now what I'm going to do is contract this selection. Bring it in words a little bit. So we go to select, modify and contract. I'm gonna bring this in maybe seven pixels so you can see the marching ants kind of came inward a little bit. You know what? That's a little too much. Let's do it. Not quite so much so. Contract. How about four pixels? Much better. Now all we have to do is fill in the middle with white. To do that, I'm going to hit command, delete. And it fills in with whatever color you have. Is your background so command delete to fill that in. Now I'll command click the whole layer again, and we'll just sort of make some little round accent lines. Is if these were tubes and pipes and had all kinds of ah, little elliptical shapes kind of going around him. It really helps to define their shape similar to our communicating shapes with lines. Lecture that we did earlier. So cool little places to add an accent. Lines really makes this look like a riel tangible object in here on the exercise sheet. I also added some little endings to it. You don't have to do that. This Ah, this is mostly just about how to make those little contracting selection shapes, but some pretty cool stuff. Another advantage to this is if you want to copy this and I'll do that again with the move , copy Ault shift and just move it. If we need things toe overlap. If we have lots of pipes and tubes, you can just make a copy. And because it's filled in with white, it will sort of block out the lines underneath it. So if you have a lot of overlapping things, a very handy way to make that really look professional and clean. Without a whole lot of work, you have to go a race between the lines or anything so really cool technique. This next one here is sort of similar. But instead of filling things in with white, we're just going to sort of try to be smart about how we layer thing, so I'll start once again by making a few smooth lines. If I can and you know it, let's use the clone stamp technique once again. Actually, instead of clone Stamp, I'm just going to do a move selection. So with the move tool again, Ault shift, We just pulled it over. Easiest can be next. Let's make some little accent lines just to give this a little extra coolness and complexity. So I've actually got this is too. I'm gonna merge these together by selecting these two layers and hitting command E. Or you can just do layer merge down that sort of collapses layers into each other. So now this is all on one. Perfect. What I'm gonna do is make a few copies of this and then I'm just hitting command t and flipping it horizontally. And there we go. Let's make a few more copies of this new and that I just flipped to again Move, tool, option shift and we just move it. Let's do that one more time option shift and we move it. So now down on the original, it doesn't really look solid because the lines are showing through. All I have to do is go to the original hit E to select my eraser tool, and I'm just going to do a little bit of a racing away, very easy stuff, and it really makes it look like these three strap things on top are really on top. It really makes it look realistic. So if we just use a few layers to manage things, it saves us a lot of work of very carefully picking out which lines stay and which lines go , so a huge advantage of the digital medium. So finally, for this last one, it's a bit of a freestyle, But I just want to show you guys that for this stage in the process, when we're doing an inked final pass, we need to make confident lines, so sort of start your line with a plan and finish it with kind of a flick of the wrist. You really want Thies to look very deliberate and bold, like you knew what you were doing when you put the pen to the to the canvas, or that the stylish rather to the tablet in the digital medium. So try this one in just practice, doing some really deliberate, bold and confident brushwork. That's what this little exercises to teach you gives your final line work A nicer quality makes it look very professional, like you really knew what the plan was when you started it. So give this a little practice. It's kind of a fun freestyle one just to improve the craft in general. Look of your final ink line work. So, guys, that's about it. I hope you found this exercise helpful. It's of great ways to make Photoshopped work for you to make your line work, look really crisp and professional, and we're definitely gonna use this in our course projects up ahead.
10. 9 warbeetle: Hi, everyone. This is Hardy and welcome to the war Beetle Project. This is gonna be a Superfund first main course project. So let's get started. We'll do our sketch in our primary shapes. So I've got a blank canvas set up is how we start every project for this one. I've set a size of 10 by fourteens of 14 inches wide, 10 inches high, And I've also got a resolution set of about 300 DP I That's a pretty good standard size. So I wanted to start their make sure everybody knows what size to work with. And I've pasted in a layer of this really cool looking Volkswagen Beetle for our concept here. We're gonna basically make this very friendly looking car into this warrior wasteland death machine. So this is gonna be a lot of fun, kind of funny and really cool looking something that would fit in like Mad Max. So I am going to use a few different methods here. Obviously, we're gonna be doing Cem tracing for image construction. But I'm also going to be adding stuff to this so we'll be using a lot of that Construction method is well, toe add all of the cool war machine details. So just checking out my brush settings. I've got smoothing just about where I like it 25% and we're just going to start kind of jotting down some ideas. So this is a great way to sort of fuse those two image construction methods. We've got this photo doing a lot of the work for us. It's got our main car shape, and I'm just sort of adding in the cool concept stuff. This is the type of project I do a lot. So this is a great simulation of a real world assignment, a great way to kind of get some ideas on top of an existing photo to sort of take it to the next level, make it more creative. I just flipped the canvas by going to image transform and flip horizontal. This is something I do quite a lot. I've actually got my own custom keyboard shortcuts set up for that so you'll see me doing this from time to time without using the cursor. This is really useful for a few reasons. You can get a fresh perspective on everything when you flip an image it sort of looks brand new to your eye. So if there's some kind of a problem with the drawing or the design, it can often jump out at you. If you're stuck in a certain place, definitely try flipping the canvas horizontally. Very useful. Another great thing is it can really improve the way your hand tackles certain lines. There are some lines that are just more comfortable for our hand to do than others, depending on if you're left or right handed. Just moving the stylist in a certain direction just feels more comfortable sometimes. So if you have ah, Siris of difficult lines, you just flip the canvas and you could make those brush strokes much easier. So, as you can see, I'm just sort of sketching in some cool little ideas to make this friendly looking car into this savage death machine. I'm gonna resize both of these together, So I selected both layers and then just hit command T, and we're just sort of bringing this in a little bit. It was too close to the edge is so you can always just select layers and move them around. One thing I want to point out is I've got this history tab going on the right side. I've always got that visible in all of my demonstrations so that you guys can follow each in every photo shop operation that's going on. So if you're ever not quite sure what it is that I just don't or something happened too quickly, just check it out on the history panel over here. There's a constant record going of every operation, so everything should be clear. But basically just trying to get all of these ideas out there have added in some cool spikes to the top in front, above the windshield on the front bumper added kind of Cem turbocharging crazy engine stuff that we see in this is cool genre and this nice machine gun on the top. So ah, lot of just basic shapes were kind of reducing it into its basic shapes like we do in our construction method. And I think that's working. So we've got both the photo and these construction shapes really establishing our idea. So we got our sketch in concept phase pretty much done. So I've created a new layer and we're going to start adding in our primary shapes. This is where we start that ink step. So it's time to start focusing on things like Leinart hierarchy and making Crispin professional lines that really important stuff that we practiced in our exercises. So here I am just making Cem primary shapes. I thought it would be easiest to do these geometric shapes first. So I'm using the marquee tool and going to edit and stroke to make thes thes first lines the wheels and headlights, these really perfectly round geometric shapes thought that would be a great place to start . And remember, with Leinart hierarchy, we want to keep our main shapes at are thickest. So I'm sort of set. Ah, few line weights in my mind is what we're gonna do for each for our primary main shapes. I'm doing about a 10 pixel brush, so when I stroke those lines, I'm doing 10 so that the tires and headlights, those main shapes are 10 pixels wide and notice my brush. The brush diameter is also at 10 so that those will match one all of these primary lines that I'm adding in to be consistent. So if you sort of set those those things in mind is your general parameters and stay consistent with that. Always using a 10 point brush for your main shapes. It will look nice and consistent. So a good thing to keep in mind once we move into secondary shapes and accent detail lines later on, of course, we will reduce the brush diameter, but we'll keep that consistent to so kind of pick. Some numbers decide how thick you want each hierarchy level to be and really stick with. It will give you that nice, consistent look, and it's just sort of like following a formula at that point. If it's this kind of shape, just use this size brush, etcetera. So a really good way to keep things organized. And it will always end up giving you that nice, professional, organized look that Leinart hierarchy does force. So just kind of going around the perimeter here, trying to get our main silhouette outline just to give us our main. Most basic forms are very largest primary shapes, and I'm leaving a lot of this for secondary shapes, which will add in in the next lecture, but just sort of getting everything outlined here following the contours of both the photo and the sketch that I've got going on here. Tracing is such a great way to get an image off the ground, and especially when you supplement it with some of your own sketches a really handy tool for ah, concept artists, especially you can really get that photo to do. 80% of the idea work for you. You get your perspective already straight because it's a photograph and you can just sort of build ideas on top of it. And you can see I think we've come up with something pretty cool. It's, ah, nice looking concept. It's kind of funny, actually. I love the contrast of this super friendly looking car with all of these really hard core details very entertaining. We're going to use a little bit of layering here like we did in the Chris Professional Lines lecture. Sometimes it just makes life easier if you do things on separate layers. So I thought these spikes sensor sort of overlapping all of those bumper lines will just put them on their own layer. So I've copied that using the move tool. Remember, we just hold down option shift and moved to make a copy, and that's really making a lot of these spikes happened very quickly for us. So I'm just using all of these spikes. I've got them on their own layer so that I can come back in a minute and just delete away any lines. That overlap really makes it easy. It's a lot easier than trying to erase away lines and then draw new shapes within them. We just have them on their own layer. And as you can see, we just erase away anything inside. And it gives us that really solid professional look where, where the lines don't overlap where they shouldn't. Everything's very tighty, sort of where it belongs, Doing a little bit of adjustment here. It looks like this last spike doesn't quite fit in with the rest of that bumper. So a little bit of adjustment, but this is already looking pretty solid. We've got some nice main shapes, established the spikes air, really adding some nice detail. So we're just going to sort of continue making these these main shapes, adding in all of these really big exhaust pipes on the end to give it that crazy built up engine look along with that turbocharger type thing coming out of the hood. Very cool stuff. All adds a lot of personality and makes our concept really interesting. So what? This machine gun? It's mostly just geometric shapes. So really using that construction method here, it's kind of Ah, Siris of Cubes with a cylinder coming out of the end for the gun barrel. And that's really all we need to get a pretty decent looking machine gun. Not gonna get super detailed with this. And of course, we're just using that 10 point brush to get our primary shapes laid down here, using some shift clicking in some clone stamping to get that perfectly straight and then perfectly parallel lines, copying that barrel and making it a little bigger, very easy ways to get get these lines perfectly straight and parallel with one another. Gonna change the angle a little bit. That barrel looked a little bit out of perspective with the rest of the car, and I think that's looking really cool. This certainly adds a lot of personality and a lot of fun contrast with this super friendly looking Volkswagen. Next, I am going to make a little chain of bullets. So I've created a new layer, and I'm just going to draw one bullet. Kind of a nice outline with some little interior shapes. And all I have to do is copy that over and over again. And it will make this really cool chain fed machine gun type ammo belt. Very cool stuff. So I'm just using that move tool option shift over and over again and just sort of transformed them into the right plane. So emerged all of these bullet layers that I just created kind of warped them into shape, and it really looks like they're part of a chain. Very cool stuff.
11. 10 warbeetledetail: Oh, hi, everyone, This is Hardy. In this lecture, we will finish our War Bugle project by adding in some detail in final Polish. So let's get started. This one's coming along really well. We've got all of our primary shapes in some of the details of that machine gun in place. So now let's start adding in some secondary shapes, sort of dropping things down a level here. I produced my brush diameter to about five and I'm gonna stay consistent with that for all of our secondary shapes here. So sort of picking out the different parts of this car that aren't really main shapes but still needs, um, pretty thick lines to separate their part. So definitely the hood. All of these little headlights, little panels of the car that kind of fit together, sort of the borders between the main sections of this vehicle's form that definitely belongs in this secondary shapes category. So I'm just carefully tracing some of these minor shapes kind of lesser, less important shapes in our line hierarchy. Another thing I'm using a lot is the clone stamp tool. A lot of things that make a really nice line drawing in a mechanical object like this car is when we have those perfect machine parallel lines, it really makes it look man made and very solid. So the clone stamp is ideal for that. Just remember, you hit s on the keyboard and you just sample an area and then you can paint it in. So there we go, more parallel lines. And I can just copy these to make them seem like perfect, Perfectly parallel duplicates. So it really makes it look mechanical. Very solid. Very man made so really great use of the photo shop tools to make this much easier than it would have ever been with a pen and ink type of project Gonna do some marquee selections. And we're just hitting stroke with these circles and just gonna really make one of these look nice, And then we can just copy it for the other three. So another circle here to make kind of an interior edge transforming turn it a little bit and I think we're good. I'll merge these four that I just made and kind of distort them into place. So remember, command t to move things, transform them, and you just hit control to bring up those secondary transforms like distort or warp very handy stuff. So let's start defining some of these window edges, just kind of making some really bold, confident lines the first time. And then if I just clone stamp around them, it gives us that really nice parallel line. Really makes it look even more confident and well crafted when we have that perfectly parallel part there. So, just like that, with essentially one line, If we could make one nice looking line weaken, just copy it and make it look really, really solid going around and just trying to make all of these panels look like they're really, well machine man made in mechanical. So that's what that photo shop geometry and use of the clone stamp all of these great digital tools really makes us much cooler and much more achievable than ever before. So I hope you're really enjoying these tools and seeing the power there. This is ah, really fun project to tackle. You certainly don't have to do this exact project, but for this 1st 1 I think it's great. T Try has your first professional looking line drawing. Try one words of mixed between a photo and your own concepts, kind of an augmented photo concept drawing that gets a great place to start and gets us used to using the tracing and construction methods. And it always ends up with a nice looking finished product. So just copying over the other end of this pipe again, trying to make that perfectly parallel one of those things that is just really hard to do by hand. So we just lean on these digital tools to do it for us. And there we go. All of the lines that define those pipes going back towards the engine here are perfectly parallel and just really match. So digital tools can really make our job much easier and give us such a nice looking finished product when used correctly. So get those, um, practice. Let those tools work for you, and I think you'll really love the result defining some more Windows here. But it's the same basic technique, just trying to make some confident lines, and then we'll just clone stamp to make those little parallel accent lines to kind of pair those together really makes him look solid and cool. So this is coming together really nicely, got our doors defined here. We've got all of our main areas starting to really come together in these second level secondary hierarchy lines. They're really making this look solid and well crafted is a general rule I try to be about this. Sparing is I can with my line work. There's certainly tons of different kinds of line Arthur's cross hatching or people that build up lots of tone and leave lots of black marks on their on their Candice. My philosophy is to be as sparing is possible with Leinart toe. Let the viewer's imagination kind of fill in the gaps. I think it's very easy to overuse Leinart too many lines. So in general I would try to be relatively sparing. Let the viewer's imagination kind of cross the finish line. Just give him enough clues and information to really create this three dimensional idea in their mind, and then they'll do the rest for you. So sort of ah, broader over our king idea to keep in mind. But something I wanted to discuss so adding in this cool, I guess kind of nitrous booster tank or something on the side started. Think about some ways I can punch up some of these cool little concept details. After all, Leinart, one of its main functions, is an idea process. It lets you very easily and quickly get a lot of ideas out on the canvas without committing hours to say, a painting or other kind of rendering. It's a great way to just explore, so don't be afraid to make mistakes. Just throw an idea out there, see if it looks cool. If it doesn't just delete the layer of race or liquefy it, whatever you need to do, Photo shop is so infinitely re workable that it's it's risk free and can really allow for a lot of growth and cool ideation without any risk. So I hope you're really seeing the possibilities there clones stepping in some details and just adding some more secondary stuff to this gun just to give it a little more interest. Some little shape lines on that barrel. Other little minor accent, things to make this look really cool. The guys air secondary shapes or pretty much there were pretty much starting to drop it down to our fine detail lines or we're just about there, kind of shoring up a few of these shapes that aren't quite as solid as I need them to be, adding a few accent lines where they need to be. But soon we're gonna be able to turn off all of our reference layers. We won't need the photo or even our sketch anymore. We're kind of doing our own thing at this point. Flipping the canvas pretty regularly is I mentioned before just to keep things fresh and to make it an easier line for me toe to do in one direction or another. So a really handy keyboard shortcut. If you'd care to make your own custom keyboard shortcut, it's actually really easy. You just go to edit in keyboard shortcuts, and you can create your own for any photo shop operation. So very handy stuff. That's the only one I've created for myself since it's an operation I use so often but very handy. So there we go. This one is starting to really stand up on its own. Realizing that I didn't include a wheel on the far end here was kind of in shadow, so I just copied my near tyre and pasted it and just made a new layer kind of a racing away again. Nice use of that layering technique and just hit command e to merge that down. Okay, I'm gonna start a new layer for detail lines, so I've dropped my brush diameter down even farther. Did that with the bracket keys. Of course, you can make your brush larger or smaller with those. And I'm just sort of starting to add in little surface details, little blemishes and imperfections, kind of some treads to these tires. But if this is really a wasteland warrior death machine, we're gonna want this to not look so shiny and new, so adding in some scratches, little bits of texture and surface information just like we did in our communicating texture with line lecture. Just to make this look a little more textured, kind of weathered and worn. That's an interest. And also a lot of good shape information. When these little tick marks follow the contours of this form, it really helps reinforce the shape going to try and make these windows look glassy but also kind of dirty. So some little parallel lines kind of looks like light streaking. Maybe a little crack here to make it look beat up, but I love There's a little iconic ways we can make lines look like a material so scratched up dirty, maybe rusty metal with all of these little squiggles and kind of tip marks, little pits in the metal and then some long, smooth parallel lines for that smooth glass, it really reads is different kinds of texture information. So those little handy iconic uses of lines to communicate texture a really handy and can really go a long way to making your image look more realistic. Clones stepping in some little vent holes in this exhaust pipe just to give it some extra extra interest in detail. But this is really coming together. All of these accent lines really start to solidify our forms, make our image look really nicely composed and really put together. And, of course, if we have done a good job keeping our Leinart hierarchy set up with our very thick primary shape, lines are slightly thinner. Secondary shape lines for all of the panels and interior details. It really lets this last step of these final interior fine details really makes them stand up it makes him look like they belong like they have a place to sit in in your image gives you that nicely organized Chris Professional look so Leinart hierarchy and incredibly important concept here. But guys, this one's really coming together with a few more details. Toe. Add in here. This is really starting to stand up. We definitely don't need our photo or sketch anymore. Looking very solid. One really cool final technique I want to show. And we did discuss this in our exercise. But let's add some rivets to this. Always makes a machine look kind of mean and really cool if we add in all of these bolts kind of tying things together. But with that in a few extra very minor details, I think this one is just about ready to be called a finished product. So a Superfund kind of hilarious first project hope you really pleased with your results. Congratulations on completing the war Beetle project. This is a really fun first line, our project in a great simulation of a real world. Assign it. Let's take a look at our project steps to see how far we've gone. We started with a simple stock photo of a Volkswagen Beetle and added on some simple sketch construction shapes to define our main concept. We then started are thinking pass and added in some primary in secondary shapes to define the main forms. Finally, we dropped our photo and sketch and added all of these fun, texture and detail lines to arrive at a really cool, solid looking final product. I hope you're pleased with your projects and a really enjoying this simple and reliable way to get great results up. Next, we'll build on what we've done here and take it to the next level.
12. 11 octopus: Oh, hi, everyone. And welcome to The Octopus Project. This is gonna be a Superfund when something totally different. So let's get started. I've got another blank canvas set up here, and we'll just use the same size is last time 10 by 14 inches at 300 d. P. I and I'm just going to start a new layer and named that sketch, checking out a few brush settings. Similar stuff I've got smoothing set around 25 but I'm going to reduce the layer opacity to about 50%. A sort of want this early stage to get the feel of a pencil sketch. So a lower opacity painting with black does that force also lowering the flow and opacity which can be found at the top of the screen on my brush. So each brushstroke isn't fully opaque and it's coming out a little more slowly, really feels like pencil. Okay, so let's die, then and start making marks were doing something very different. We don't have any photo, no references at all to trace here. We're just sort of diving in with some gestural and construction type of image construction here. So this is gonna be really free and fun. So it's an octopus that we're doing here. We want a big part of this to be his personality. That sense of movement really bring the character and attitude of this creature. Let it work for us. That's really gonna be the selling point. So at this stage, we're just making very free kind of messy lines. Doesn't really matter how nice the line quality is not worrying about hierarchy or crispness, anything like that. We're just getting shapes and sort of the general personality of our subject across here. So I'm gonna flip the canvas just toe, make sure things were working for me, and I'm just sort of trying to make these tentacles in every part of him have a lot of movement dynamism. Just getting those main selling points across with these very rough, very sketchy lines that we're making here. Adjusting the shape of his I did a little erasing some refinement and remember, you can do any of the transform functions at any stage of this. So let's do a little war, Pierre. Maybe bring a little more of the weight to the front of him so that he's sort of moving forward, a really cool sense of visual movement in this one. When you have similar objects repeating in an image like the tentacles here, it really sort of creates this sense of animation. You can see those legs kind of walking along the ocean floor because they're similar, but they're in different positions. It's sort of the same concept is when you have an image of birds flying in the sky. If you have a lot of similar birds, but their wings are flapping differently, it really starts to move in the eye of the viewer. So a really cool concept there sort of visual animation when it's really just a still image . I'm actually refining these tentacles, but I've added some numbers to them just to sort of take notes. I want to make sure I have approximately eight so that I don't get that wrong. It's an octopus, after all, so little notes. This is the right phase of the project. To include those is the rough sketch. I usually don't have to count legs in many projects, but this is a special case, a really fun subject here, so just refining a bit kind of getting this sketch just the way I want it going to do. A little bit of liquefying on these tentacles, sort of make sure that they're relatively uniform thickness. And seeing if I can adjust the facial expression is if that's really possible on an octopus . But I trying out all kinds of things, seeing if one raised our might look cool but not really feeling that. So I think we're in good shape, just making sure that we're seeing what could be eight tentacles we're seeing about six on this side so we can assume that to our hidden on the other side. I think that's plausible. So just refining a little bit, increasing my my brush diameter just a bit. Just toe solidify a few of these lines. Now that I have my idea and I think more or less the position of everything is looking good , I'm just going to do a little more heavy sketching to sort of cement some of these forms in my own mind, sort of part of the ideation process. I really want to get thes thes weights right? Make it feel like nice, solid objects before we move on to our inking phase where we can start thinking about using line to communicate shape and texture. And, of course, a main challenge of this and sort of why I chose the Octopus for our subject is because there dozens of those little suction cups on each one of these tentacles and doing this traditionally with pen and ink would be very difficult to get all of those suction cups to be right where they belong. Sort of showing the correct three dimensional shape of those tentacles as they loop around and come in and out of perspective. That would be really challenging. But it's super easy or much easier in the digital medium, because we can just put the suction cups on their own layer. Fine, tune them as much as we need to and then kind of integrate things separately by erasing away the line. So what will spend a good bit of time on that? But I'm hoping this is a nice example to show you guys how problems that are very difficult and challenging in traditional sketching and inking can really be made much, much easier in the digital medium. So I'm experimenting a bit with some really tight curled ends of these octopus tentacles, seeing if it adds a little bit of extra personality. That's kind of cool. Not sure if I'm gonna keep that, though. I sort of like it when they taper out a little more naturally. So I think we're in good shape, solidifying some more of these shapes. We have tentacles kind of overlapping. Have those stretchy octopus skin sort of spanning the different tentacles really makes it look like that squishy kind of jellyfish organic type texture. So this really could not be more different from the war beetle car project that we just finished. But we're using a lot of the same principles in techniques, just applying them differently, and you can get such dramatically different but awesome results using a lot of the same principles. So it's time to start thinking about these suction cups. Now they're all pretty much the same size, a little circle shape. But one principle that really governs thes is surface compression. Do you guys remember the pizza with the circles inside versus the planet, where they sort of get squashed and more numerous out towards the edges? That's exactly what we're doing here. These circles need to sort of match the contour in the plains of these tentacles. It will really help round out the shape and kind of define things. So I'm being kind of careful about how I sketch these in. I want them to sort of flatten out and get smaller. Is these tentacles round away and become more circular and round on the planes that are facing us more directly? So these really subtle details give us so much information about the shape and and really the texture of this creature so a worthwhile thing to pay attention to it. It's a reason I chose this is to get this idea out there for you guys. That these little secondary details can give us so much information about our subjects. Shape the feel of it pretty much everything. We need our viewer to know we can communicate with these techniques. So I think that's working really well, guys, we've got a pretty solid sketch here, so next will start doing some primary shape inking So one of the first things will do before we start that is knocked back the sketch layer to about 20% capacity. We want our sketch to be kind of barely there enough to see it, but we don't want it to really affect our Inc. So I have dialed the opacity up to 100% left the flow pretty high as well Got smoothness said on 25%. So now we're kind of switching gears. We're done with idea phase done with defining shapes. Done was sketching. Really, It's time to do those crisp, professional, deliberate and confident lines that we've discussed really important here to kind of change hats at this point in the project because it's very different jobs that we're doing. And that's one of the advantages of being ableto compartmentalize things is that you don't have to keep the entire big picture in mind. You can just handle one step, do one thing well, at a time very liberating. So we're defining our primary shapes here, just kind of going around the entire perimeter of this octopus. Always keeping my my brush diameter at 10 always want that to be consistent so that all of these primary shape hierarchy level lines look pretty much uniform. No, the brush sensitivity pressure sensitivity really does affect that a little bit. We're getting a nice organic taper to a lot of these, really doing those cool little organic areas where we have a tapering line kind of overlap Nice when they're and that's really what help sell. This entire subject is an organic form. Every part of this object is something kind of soft and squishy and alive. So we want our line texture information to reflect that, doing some nice, gentle curves for these tentacles. And again, we're not worrying about the suction cup parts yet at all. We're just doing the technical forms, and we're gonna come back later and add those in and do a little bit of layering and a racing away. Make that job way easier, honest than trying to just plan for that and do it all in one step. So a really huge advantage of digital Leinart here, but just have to sort of address each won one each line to be nice and crisp. Keep that 10 point wait. Primary shapes really keep our hierarchy organized. Make it look nice, and I think we're on our way. But it's incredible how much variety you can get with all of these same principles. If you just use different kind of information with our line work. We're showing a totally different kind of form here, but it's the same general principles. So some really powerful, really versatile stuff here, Two extremely different projects that are all working basically on the same guiding principles, planning for a little bit of the suction cups that are sort of stuck to the ground there since they won't really be visible. It's kind of your seeing them from the side and also thought that would look kind of cool if we had some of these tentacles sort of sucking onto the bottom. Just sort of trying to get a little bit of the personality of this creature out there. And it's kind of what makes an octopus look cool and interesting to me. So just sort of doing Cem overlapping little bumpy lines, keeping things a little bit wavy, trying to keep the outer contours of these lines kind of interesting and really communicate all of that cool information of what this octopus is made of, what he looks like, what what kind of a creature is he? And it's incredible how much information we can get across just with really black lines on a white page. So much power in this really simple communication tool. So hope you're really grasping the possibilities here in are doing some awesome work, maybe seeing Leinart in a new way. And, of course, this is all such an important foundation for virtually every other kind of visual art downstream. So these skills air really worthwhile to sharpen, making sure that we give every tentacle the right attention. Sometimes in a a subject that has a lot of repeating parts, it can start to wear you out a little bit, so take breaks is needed. Make sure that you can come back and treat every part of it is if it's it's the most important part. Don't want to kind of run out of creative gas and start rushing anything so breaks. They're a great thing to do. If you're starting to feel burned out, take five minutes. Take a quick walk, come back at it with fresh eyes in just a minute or two and you'll be ready to go. But we want to make sure that we we don't ever leave anything, is an afterthought. So nice. That's pretty much all of our tentacles roughed in there. We got our primary shapes looking very solid, already looking like a solid organic form. This I will be a big feature of this creature. Probably the first part a lot of viewers will notice. So doing some really bold, kind of refined line work to make sure that this looks like a really interesting organic form. Want that to be a real selling point? So, guys, this is pretty solid stuff. I think we've got our primary shapes really well done. I think all of our subsequent shapes will really fit well in this solid form we defined. So we'll tackle those details up next, but a really solid start.
13. 12 octopusdetail: Oh, everyone, this is Hardy. In this lecture, we will wrap up our octopus project with some detail in final Polish. So let's get started. So we've got our primary shapes looking very solid. Everything's in place. We kind of set the stage nicely for some detail work. So we're gonna drop our brush diameter down to four pixels, and I'm just going to start adding in some little details. This is where I want to get across all of that really cool texture information and kind of draw attention to the more important parts of this octopus. So I started right away around the I want that to be a real focal point, and I'm just making some of those little lines just like we did in the communicating texture with line lecture were kind of scalloping out some of these primary lines in just adding in all of these little bitty kind of C shaped bumps and little wrinkles lines that just make it look like soft tissue kind of overlapping on. A lot of this sounds kind of gross, but it's sort of tough to verbally describe all of these textures that we can communicate with line work. So a lot of really cool stuff we can get across and that will be the focus of this step. I want that. That Iris of The Octopus is I I guess, his pupil to be a really cool focal point as well. So doing some detail work at that want that to be really bold and stand out a few little details around the I. I'm not really sure if octopus has an eyelid or not, but we're gonna make it sort of look that way, adding in little bumps, little wrinkles of skin. Try to make these little stretchy parts between the tentacles look really organic and really natural. Make it really feel like the type of creature that they were trying to get across here, but not too much. It's important that I make sure you guys understand that these tricks are to be used sparingly. Once you start getting a cool effect, it can be kind of tempting to just fill up all of this white space with these effects, but it's important to use them sparingly just to a few of these effects and let the viewers I kind of connect the dots, fill in the rest for you. It'll be a much nicer experience for them in a much more compelling effect if you let the viewer kind of take you across the finish line really important stuff to keep in mind. But we can definitely make thes accent lines work for us. Really get that texture and feel of this octopus across. And just with a few in place already, he's looking super cool. We've got a great sense of the texture and shapes are getting really nicely reinforced here , adding, in some of these details, this is what's gonna really make this finished product sing and the way we set up our line hierarchy, the where we're keeping our detail lines, a consistent weight and keeping our primary shaped lines separate. Keeping one thick in one thin really makes it look nice and crisp. Very solid, very well constructed and organized, making some big circular shapes, just sort of to imply some kind of, I don't know, skin patterning, something cool like that happening out on the Octopus's head. Very cool stuff and, of course, want this kind of eyelid area the main raised I holding area to be sort of well defined. So I'm making those round shapes kind of raised really cool stuff and just adding some detail to make these, these parts of the Octopus look organic and also to reinforce the shapes that were going for but really coming together nicely. It's it's really fun when we set up our primary shapes well so that they'll just hold all of these accent lines really nicely. Always really hasn't nice, cohesive and well thought out. Look, when we do this right, so take the time to do this in the right sequence of events. Really, really organized things, and it'll lead to a really nice finished product. But you can just sort of jump around. Don't want to get too caught up in any one area. And, like I said earlier, don't want to get to lost out in the pixels here on one particular spot. Don't want to overdo anyone. Effect. So it's a good practice to sort of jump around anytime, in effect, occurs to you. Just sort of hop around and put it wherever it might work. Well, so dropping the sketch every once in a while just to look and see if this one is kind of standing up on its own, yet not quite there. But we're getting very close, adding in some little dark lines, really starting to get a good sense of how this is gonna look when it's it's totally finished seeing what we can do about this I pupil to make it look cool, seeing if maybe a double outline would work. That's pretty cool. But I'm thinking I might do something a little simpler. Let's give it one more try. I've increased my smoothing a lot to see if maybe a really smooth, really steady line will look cool. Not bad. I like that double line. It's very attention getting, but I might be overthinking this a little bit. We'll see a little more accent work, and I'll give that some more thought went End up. Just making that pupil solid black since it's such a focal point that it will be okay if we had something that bold but a few more little shape lines just to show sort of the underside of these tentacles, how they sort of flattened out the walking surface of the octopus or swimming whatever but very cool stuff, tons of shape and texture information in these accent lines. That's what they're all about, kind of following. The contours sometimes give the impression of little muscles under the squishy octopus skin . Really cool stuff. So now we're going to tackle these suction cups. This is gonna be a really interesting challenge in a really cool way to use the digital medium to make it look like we've done something very challenging. But it's really not hard. It also I've created a new layer, and I've actually knocked back our main ink layer in opacity a little bit. It's not quite a 100% so it's sort of great out underneath, and I'm just very carefully on a new layer making each one of these suction cups. There's probably a way I could have copied this over and over again, but I thought I would just do it by hand just to have some nice control over the surface. Compression, the way these suction cups need to sort of look like they get flat is they go under a receding surface. It will really make this tentacle look like it's curving underneath, so this is gonna be a really important bit of shape information and just a really cool detail. Some some really cool feature stuff to sell our image here, make it look like it was difficult to accomplish. That's always something you want your art toe look like. Like it's technically proficient. But you also want it to be beautiful. So these neat repeating design elements really do that for us. It gives us a lot of good balance. We've got these large shapes, like the octopuses head and the tentacles air pretty visually quiet. So we balance that out with these nice, kind of visually active repeating shapes. And if we can do that keeping surface compression and in all of our three dimensional shapes that we're trying to establish in mind, it's really gonna be a cool effect. And even though we haven't composed everything back together, I'm already loving this, really getting that sense of the tentacles being three dimensional, kind of curving around that is really working well. And I know that once we turn our original ink layer back up to 100% and we erase away the overlap, it's going to really look like that technically proficient, difficult type of challenge that we wanted to look like it's gonna be like, man, How How on earth did this artist painstakingly do every suction cup and not not have any lines overlapping, Really? One of those cool technical feats that simple layering makes so easy and photo shop. So I know I've said it a lot, but the digital medium really provides some incredible possibilities never, never before seen. So hope. You're really grasping the power here and can see the the applications really cool stuff. So just sort of being patient, trying not to get burned out again. With any repetitive task, you want to make sure you don't start rushing and hurrying. Anything is, you get to too many multiples. But certainly this takes and patients breaks are always good if you're feeling a little burned out. But this is looking good. I'm just a racing away. Some of these start and finish lines. Some of them don't have a very nice taper at the start or finish. So just sort of fine tuning these. But that's working well, guys gonna put a little bit of accent lines in some of these. I think these suction cups have a little hole in the middle where they sort of suck out all of the water, something like that. So just adding in a little bit of of secondary detail to make the zone look cool and it's really working. I think this is gonna really sell our finished product for us Nicely. Some little accent lines. Very cool. That is definitely kind of the iconic part of the octopuses, these weird looking tentacles with all of these suction cups. So it's awesome that we're putting a good foot forward with that main feature of this subject, and I think we're gonna have a really cool finished product. So just more accident lines trying to make these look like they're part of the tentacle. Don't want it. Teoh look like two different wanting to integrate and kind of jail together. Have a nice, cohesive finished product. And thats working really well. Little last minute erasing, and I think we're getting very close to being ready to kind of integrate thes things. So I'll dial our original ink layer back up to 100%. Think we're ready to go ahead and lose the sketch. I'm making a copy of the ink layer just in case we erase something that we don't want kind of is a safety net, and I'm just switched to my race tool. And all I'm doing here is a racing away. The underlying ink layer, wherever it sort of overlaps into one of these suction cups. And just like that, that's how we get the effect that we painstakingly avoided overlaps when we were drawing every one of these suction cups gives it an incredibly well crafted, technically proficient effect and really makes those suction cups look like they belong, like they're part of the tentacle. Really cool effect. That's kind of one of the main selling points I wanted to get across with this whole project. So I hope you guys can see that the power there, all kinds of applications if you have really any subject that has, ah lot of complex parts that make up a larger part like a tree branch anything, really, this is the way to approach it. Just make a new layer. Go ahead and paint in all of those repeating elements, and then you can just erase away the parts that overlap afterwards, and it gives you this super nice effect where it looks like it all belongs together, and it looks like it was really hard to do so. Amaze your clients of major friends with this simple technique that makes really proficient looking levels of work possible. So I've gone ahead and merge this suction cup in the main in clear together. So we're just working on one project and guys from here on out, it's basically just a final polish just looking for any areas that could be a little bit cooler before we close the book on this one. So another good time for a break possibly is right before your last push, when you are just about to call a project, finished once and for all. Maybe right before you send it to a client or a teacher, it's a good time to take a break. Just make sure you're coming at it with fresh perspective. I do that in my professional work. Even when I think I'm done with a project. I let it sit overnight, and if I still like it in the morning and don't need to add anything, that's when I send it. So ah, cool, professional trick for you guys. I think this. I need a little bit more weight, and I'm gonna go ahead and black in that pupil, after all. And I think that's perfect. That fits much better. That I outline is definitely our boldest part. A little bit of accent work is if there are some cool colors going on inside of the eye, just to imply that maybe a little shiny highlight over the pupil. And while that's really coming together nicely. So other than a few last minute accent lines, guys, I think we just about have a really cool finished project. Congratulations on completing The Octopus Project. This was a really cool way to do something totally different with our Leinart techniques, and I hope you got a really cool portfolio piece out of it. Let's take a look at our project steps to see how far we've come. We started with a very rough looking, gestural sketch to construct and edit our main shapes and forms. Way, then started are thinking past with some primary shapes to finish it off. We added loads of texture in shape information with our accent lines and suction cup layering technique. Really cool finished product. Before we finished the course. Be sure to check out the next lecture for an awesome technique on how to put a cool spin on any finished digital line drawing. I'll see there.
14. 13 antique: Oh, hi, everyone. This is Hardy. And this lecture will do a bit of bonus content. I want to show you a really cool technique for taking any finish digital line drawing and making it look really old like a traditional kind of antique project. So we'll do this with a stock photo texture to begin with. Now, I found this really cool paper texture on pixels dot com. Really great website. They offer completely free royalty free, creative, common license photos for you to use so you can use him even in professional work. So that's what I've got here. A really nice old looking paper. Texture Got Cem some water. Mark Steyn's really cool stuff. So what we're gonna do is hit command A which is select all in just hit copy. And now jumping back to our Octopus Project, we're just gonna hit command the and paste that into this new project that shows up on top . But I'm gonna move this underneath our finished drawing, and that already looks pretty cool. Looks like somebody drew this on top of this old paper long ago. But we've got a lot more a lot more trickery left to do before this looks like something convincingly old and an antique. So let me show you how to do that. First of all, I'm going to change the color of our ink drawing here, and I'm going to change it to something kind of like a light brown, but mostly grey. So I'm picking that color almost totally gray, but just a little bit of this brownish color underneath. What I'm gonna do is lock this layer and what that means is you can Onley paint within the pixels as they are. So if I do option delete it fills all of these pixels in. Basically, I just changed the color. Everything that was black is now this gray color. Next, we're going to change the layer blending mode and that's right here. There are all these different modes that photoshopped conducive for this one. We're gonna do color, burn and check it out. That already looks like a much more realistic old antiqued looking drawing. You can see all of this paper texture coming through our line work kind of as if the ink is sort of worn out over the years. Really cool stuff is one final bit of detail. We're going to add a layer mask now. To do that, we click this little icon down here, and I'll give you a very quick crash course in layer masks. This is the layer mask. It's been attached to our ink drawing layer here now with masks. Basically, we just paint in black and white into the mask. Anywhere we paint black, it disappears anywhere we paint white. It's revealed again. So basically, if we fill this mask in entirely black, everything goes away and we can paint white and reveal it again. So basically black is hidden and white is revealed, so I'll fill that in with white again. Nothing on this mask. Next, we're going to use some of my cool spatter brush is, and everyone who takes this course is welcome to download these to download a brush, you opened this brush editor menu and you go over here. You do import brushes, and that's where you can find the A B R file that I've provided with this lecture. And that should give you this whole pack of these really cool, splattering looking brushes. And let's just try a few. Let's try this one and what I'm going to do is set this to about 50%. So I just hit five on my keyboard and painting with black. Remember, black will hide wherever we tap. As you can see, the brushstrokes that I make are kind of hiding some of the ink making it look like it's sort of faded. Or some of it is flecked off over the years. Gonna increase that to 90 gets him or oh, yeah, cool. It's making it look sort of eroded away like some of this just hasn't held up through the centuries. We tried different brush, see if we can get a different effect. It's a little bolder than I wanted, but you get the idea. You can sort of make a much or as little of this disappear is you want, But you can see it gives this really impressive effect of making it look like this. Ink is very old, and it's just sort of faded and eroded away over the centuries. Well, super cool way to turn any digital line drawing into kind of a traditional fine art piece, something cool you might wanna hang on the wall or give us a gift, something your clients will really love, too. So with these simple steps, just a few photo shop effects really weaken. Take something that looks very crisp and new and make it look like it's hundreds of years old. Something you may have found in an old addict. So really cool stuff. I hope you enjoy that.
15. 14 recap: Congratulations on completing Leinart Master. We've completed digital Leinart Overview line hierarchy communicating shape with line in communicating texture with line. We then took on some fun exercises to get used to making lines and Photoshopped tools and basics, sketching an image construction and finally, Cruz professional lines. After that, we put all of this awesome knowledge to use in our main course projects war, beetle and octopus. I hope you've got some great portfolio pieces out of this course will carry these techniques forward toe all of your downstream project. Remember, solid line work carries forward toe all kinds of more advanced digital painting challenges , so keep these Leinart skills sharp. If you want to continue learning and leveling up your additional painting knowledge, check out my other course covering just about every kind of super cool painting out there. Thanks for being an awesome student for being part of our digital painting rock star community. That's it for Leinart. Master take care and is always paint cool stuff
Hardy Fowler, Digital Artist
