Transcripts
1. Trailer / Introduction: Hi there. My name is Julian Beaufort and I'm an illustrator from the Netherlands. I've had over 15 years of experience working for brands such as Google, McDonald's, Adidas, and Robinhood. But enough about me. You are here because you would like to know more about the lost art of pinup illustrations to learn how to paint. Just like the master's back in the forties and fifties, such as art from Gill elf grin, and Alberto's Vargas. Well, you came to the right place because I've been set to create an easy and fun way to turn an image, maybe an image from the web or photograph your spouse or a loved one into an authentic looking 50 style illustration. Here are just a couple examples I've made myself by using the same methods that I will teach you in this class. And the best part is everyone can join and learn. Because I've made it super easy. You will learn the basics of painting using a photo as a guide to learn and shortcut your way up to a masterful painting. Simple photo manipulation techniques, brushing using the mixer brush, culling, grading using curves, and some basic Photoshop skills. I hope you will enroll in my class. I've had a lot of fun creating this one. And I hope you will enjoy it as much that I have had creating it. Impress your friends and let me teach you. You don't have to be a master painter to create some amazing results. Let's make pin-ups together.
2. Getting Started: Hello everyone, welcome to my new skill shared class. And it's gonna be an exciting one because we're going to make your traditional, classic looking pin-up illustration. Really like they've done it back in the forties and fifties by the famous illustrators back then. This is going to be, you know, we're basically going to replicate that look and feel of the pin up. And looking at my screen, you can already see what we're kind of going to end up with the end result. And on the left you'll see the, you see the original picture where it's based from, based upon. And if I zoom in, you can see the nightlife little details we're going to use. Really. I mean, it looks brushed, it looks authentic, but we're going to fake it. So we're all going to do this in Photoshop. You don't need any, you know, really experts, Photoshop skills, actually, pretty basic stuff really. I think almost everyone with like basic photoshop knowledge could join in and have a lot of fun with this. So Let's remove the nth result. And again, so go back here a few steps. So a picture, obviously, we need a picture, right. So in this case, a girlfriend of mine, she was very kind to, you know, come to my place and model. There's always like a theme going, usually as like a theme in original pin-up illustrations, whether it's like girl dressed up as a sailor or, you know, hot air is blowing up and her skirt is blowing up or something. You know what I'm talking about? So of course you can get these pictures from the internet or, you know, get some, some, something from the web. But I think it's always nice if you can make, you know, dropping a prof, someone you actually know. So ask around, maybe someone that's close to you or maybe your girlfriend. She would more than happily model for you. And Well, yeah, here in this case, I bought a pallet and a brush drawing or as a traditional painter. And she just took some clothes for a wardrobe and just, well, this is the end result, right? So really cool. And this start basically. So once you have to picture, we have to move, oh, by the way, one thing, that picture doesn't have to be like super high wrestler, anything. You can even make a picture with your phone. Don't worry about that anyway. So once you have the picture, we have to do the most. I mean, the thing that everybody hates to do. That's isolating the model from the background. So that's basically cutting out the model from the background. And I'm not gonna make it Tutorial on that or a video because I think there are like 1000 videos into YouTube. Show showcasing how you can do it. But if you want to know how I do it, I just do it by hands still. So I just use the lasso tool and a polygonal also to select everything and get rid of all the parts that we don't want. So I've actually already done the work. As you can see. And maybe you've already noticed that the final results, she had a different expression and that's because I really liked the post she had in this picture, but I really liked her expression from an outer picture. So I did some kind of photo manipulation where I basically pasted her head onto, Well, as you can see here, when I'm toggling it on and off, I just pasted her hat on this body and cut away when it didn't want. So that's basically just combining two pictures. So before we move on to the next video or the video where we're going to do some brushing already. And I'm going to just do some last minute manipulation, manipulation here. And I just want to stretch your legs a little bit. So what I'm going to do, I'm just going to select her legs. And this all doesn't have to be like super accurately, but let's say roughly like this. Maybe a little bit more here. So I'm just going to select everything on the bottom half here. Like that. Don't forget this part of the leg. So that's good. And I'm just going to select this part. Hit command c, So copy. Then I'm going to delete her, her lacks entirely. And then I'm going to paste her legs and a new layer by command shift V, because then it's being pasted on the exact same spot. So this is now a separate layer. And I'm just gonna, I know this is kinda look weird, but I'm just going to I'm just going to stretch her legs a little bit and I know it's not like super accurate because her leg It's actually going to be liquid thick, thicker on top, but I think it's nicer to have just a little bit longer lags here. So and I'm going to move up the image a little bit so you don't see that gap. And that, that looks good. Like so. Now I'm going to merge these two layers. So it's one layer again. And I'm going to slightly skew beak or rotate because I feel the the stool she's standing, I was not like super straight. Let's see. Feel this is more what we want. Like that. That's good. So that's gonna be it for this lesson. And in the next video, we are going to use the smudge tool a lot. So there's gonna be a lot of magic happening in the next video. So see you next in the next video.
3. Using the Smudge Tool: Hello everyone and welcome to the second video, where already a lot of magic is going to happen here. So we're going to use this much to exclusively here. And let's zoom in for a little on our lag because we're going to see the fact the best here. We're going to select this much to when it's below the gradient tool. And if it doesn't show this much, two with probability shows the blur tool, click and hold it and selects much. Then we're gonna move up to the brush settings. And we're going to select the soft, that softest brush you can find, and it's just below general brushes. In this case, it's the first one. At least they might Photoshop, it's the first one. So select that one. And we're going to move through strength and set it to about 25%. So smudging, I'm using the bracket keys by the way. So yeah, for the forward and backward bracket key to decrease and increase the size on the fly. So that's very useful basically for this entire video. And I know it wasn't the most exciting part, but it really is going to create this effect already. The brush effect is we're going to smite everything. So when I do this, I can already tell you're on the leg. We're basically going to smooth everything out. And I'm going to increase the size a little bit. You can already tell my microscope and slow. It's a few years old now. So we're basically going to smite everything and just smooth everything out. Now, a big key to smudging is that you move, you move in the same direction as the well, the shape basically. So in this case I'm moving along her lag and I'm not doing like a strange crisscross motion or going up and down, move in the same direction of the shape. And here you can, I mean, you can't really tell what it is doing, right? And as you can see, the picture I made was also really like noisy. And we're also defusing the noise with this at the same time. So that's the big thing that we have to do now. If we get like close to an edge, we want the edges to stay sharp. And I can show you, if you smile on a edge, it just, you know, blurs everything here as well and we don't want that. So 40 outer edges is really easy. We just select the layer. So we do that by holding command and clicking on the layer. And now it's just select the cell. And now I can really just like smudge along the edges without smudging. Blurring the edge. Like so. And if I D selected, you can see it's still still sharp. And I can even like, let's say I wouldn't I don't like this highlight on her leg. I mean, I like it but let's say we don't I can actually kind of smudge upward to delete the shine a little bit. So you can actually have a little bit of control already when you're smudging here. Now, if you move to another edge, so lets say we want to have her leg here. We're going to select that like so. And I'm actually you can already tell I'm I'm I'm kind of because we stretched her leg. This particle-like became a little bit thicker. So we're actually going to decrease that by I'm selecting not all of it, right? So as you can see, him kind of selecting above it. And now I'm going to smooch here as well. Actually, what we can do right away are well-known, nevermind. So I'm going to smart here along the edges, like so. And if we inverse the selection, you do that by command shift I, I can now smudge this part and I'm now going to move it upward against the edge I just selected basically. And like so. And now can safely just blurry everything out. And I'm basically just pushing in like you just saw. I'm just pushing it in against the selection. So I'm actually see, now you have a nice sharp edge there. Let's do here and this part over lag to show you. So that's it's not a great selection, Julian. Okay. Something like that, right? That looks good. So now we can smudge the S part without, you know, affecting or smudging the parts outside of the selection. Like so. I'm going to inverse the selection again and I'm going to swatch this area. And we're going to do this for the entire picture basically. And I know it's not the most fun thing to do, but it's crucial. So yes, mugging. Let's let's move up to part of her trousers year for her shorts. So you can see what I'm doing. And I think then it's easy to already tell what you need to do here. And we're just going to probably fast-forward the video or just skip to the next video where we are. You know, talk about step three. So what I'm doing now is just selecting trousers here or at least a part of it. Like so. And I'm gonna smudge along the edge here. You don't have to do every fold. You don't have to select everything because that's like overdoing it, but like hard edges or, you know, we're really stuff really is overlapping one another. You can use this, use this method to have still the strong edges, the sharp edges without blurring it. So, and I will do the other side. Oh, this boom. Say let's do this part. So yeah guys, that's it. It's going to be a very long and boring video four, we're going to do this life. I mean, this will take some time obviously. But believe me, it's all worth it. So smudge everything you see, even the tiny details I'm like talking. Even if we move here to her face. Again, Smart along her cheeks, follow the shape, the overall lines. Smudge her lips. Smarter teeth, basically diffusing every any kind of noise, making everything silky smooth. So yeah, I didn't just going to smudge everything. And I'll see you in the next video and you will see what kind of what we kind of ended up with. And we can start on the next step.
4. Using the Mixer Brush to Paint: Everyone, welcome to our well, continuation of creating this awesome pin-up illustration. Now this is a little bit weird for me, and this is probably out of context where you guys, but some people are probably noticing that on top it says Adobe Photoshop 2021 right now instead of 2018, which was the last lesson. Yes. There really has been a three-year gap since I've recorded the last video and this one, it's been kind of crazy, but I really want to finish this pin-up illustration. And it's a real for you guys. So yeah, without further ado this time, let's continue. So yeah. We're really I'm just, you know, for me it's a bit strange. It's three years ago that I left off, but I'm back to continue with the button up illustration. There are few things that I changed a little bit to kind of enhance the tutorial as well, to kind of make things a little bit more clearer. So I adjusted, it, created the layer where I just boosted the contrast of this image a little bit. And you don't have to do this at home. This is just purely for you guys, so you can kind of see what I'm doing a little bit more clearer. We're gonna do a lot of color correction and stuff. I think it's probably the last lesson or to the Yeah. Probably the last lessons is going to be all about color. But for now we're still focusing on creating this brush effects. For the pin of illustration, we need to fake that we have created and brushed this model. So how are we going to do that's obviously the last lesson we had been focusing on using the smudge tool solely. And well, this lesson isn't really gotta be all the difference. I mean, it's going to be way more awesome. But that essentially kind of a same technique, but we're using a different brush this time. So we're gonna move over to the left here. And we're going to select the mixer brush tool. And once we have that selected, so we're gonna move up here and we're going to select out of, well, you have a fuller hair that's says what the media brushes and we're going to select guy hills, real oils. And these are not fancy brushes that I downloaded or something. These come with Photoshop, so everybody should have these. Once you've got that brush selected. And this is kind of an interesting brush. You, if these two options are buttons here in the top corner. And this is basically saying you're going to load the brush with a color if you select that. So it's probably going to be a bit whites. I'm sorry. That's another layer. As you can see, it's loaded with whites. And this, I can just saying, I want to unload the brush after every stroke. Basically. We don't want to load the brush with a color. That's kind of the trick here. So we're going to actually unselect that again. So we want this one not selective. And we want the unloading brush selected. Then you have a couple values and settings you can mess around with here through we, totally honest, I'm not quite sure what I'm doing with the settings as well. But I found that, you know, 90% wet ponder percent loads and mix at 35%, that works pretty well. And if you, you know, feel free to play around with these settings, obviously. I think that's it. Yeah, we can keep this one also selected. This belief that's airbrushing. It's not showing up as a popup. But anyway, let's do some awesome stuff right now because this is pretty cool. For let me just begin on a more easier area. I'm gonna move through her chest instead of starting at our face because there's a little bit more difficult, we're gonna select that brush. And again, you can, you know, make the brush larger and smaller by using the bracket keys. And what the mixer brush to essentially does is it picks up the color that you start off with a disarticulated. But as I demonstrate, you can see when I move from the light area to the darker area and basically moving that paint around. And you automatically get the brush aesthetic because it's a, yeah, it's the Kyle's brush with these neat things going on. So we are going to essentially move paint around to make it look more. Yeah, well, to fake that we are have been brushing this entire thing. And we can play around in this, at this stage as well. So as you can see, I already kind of, you know, because this just felt a little bit larger than her left jest. I moved this light around a little bit so it looks more equal now. And again, you can kind of do some neat things here. Now. You can go and you can kind of decide what your style of brushing is going to be at this stage. So right now I'm doing like fairly large confident strokes. And I would say that's also kind of the key to not be know, do very small. We can really see what you are. You need to make some big changes, I guess, through really kind of get a more confident effect. Like you were a painter, right? Obviously you can, if you want to, you can also make the brush a little bit smaller and work in smaller details. And don't have, you know, a lot of large. Surface areas basically. And, you know, I would just like to move or well, basically, for this entire stage, we're going to just brush the entire image. You need to move around and use this brush on it. Let's move to, I mean, you cannot really tell what kind of neat effects kinda wonder finished this part before I move on to the face. So again, if I move to a darker area and move it to the light area, you can see how much you can actually manipulate the illustration at this point. Sorry, I'm just kinda move even if it isn't really I can I can tell that this is probably not going to show all that much on screen. But even where you feel like maybe I don't need the brush, fear still do it because it's in the little details as well. You know. Now let let let's move on to our other chest, right? Because you can also do something cool here where you can move outside of the shape basically. So it can just kind of, you know, it's a little bit, yeah. You want to be a little bit careful not to go all the way crazy, but you can kind of create this brush effect outside of the selection you've made before. You know, this is cool. So for instance here, right where two different surface area meat, you can decide to do that selection thing. Again, which I kind of showed off in the bar with the smudge tool. But you can also say no, I want to make a more, I don't know. I want to show that brush effect and I think that I sacked is actually what you want. And as you can see, it looks painted at this point. Now I can even if you want, I don't know. Give her year little bit of a cleavage or something. And yeah, I mean, at this point, it's so easy. Everybody, everyone can do this, right? You don't need to be an artist who make this happen. So let's move on to a more complex, detailed areas. So let's move onto her face right? Again. Just move the brush around. There's not much to it. You know, it's super easy. But just take in the big thing here is that the starting point is kind of what is your deciding factor and what you want to move around. So if I'm starting with this light area and I move it up, I am live really like smudging out basically like we did before, but now with a brush effect, I'm smudging that area out. And you can kind of exempts you wait. Parts are for face, right? Because we smashed it a lot. It's also the muscles are very blurry photo so we want to kind of get the detailed back. And that's why we're just, you know, we're going to push this light area and I'll pushing this dark area up. We can also say I want or I don't know, I want the ellipse to be a little bit fuller. Let's do that. Easy. Just move it around a bit. No, we can even say Okay, like that, you know. And play around with I mean, I'm constantly switching between different sizes of the brush. I have my other finger under under bracket keys at all times basically. And here we can kind of just reshaped little bit here. Her hair. I mean, that's obviously know this Harris did difficult thing for painters, but not for us. This is easy. We're just going to, I mean, I'm, I'm I'm doing nothing here. I'm just moving the brush from her hair outside of the you know, outside of the area that we smudge and to kind of the on top of her skin if we do it the other way, it's kind of you can kind of move stuff back again. If you think this is too harsh, you can also kind of move. We can select a different brush. We can actually just go back to the smudge tool and just as much out hair that way. See, if we've got move back to the the, you get more of the grainy effect. I mean, I guess you can kind of do a little bit of both. And even if you go back to the smudge tool, there's something really neat. You can do as well here. If you like, downsize the brush or the smudge tool like through its lactose small point. I'm not sure if this is even comes through on, on the screen. But you can even like, I have to increase the strength, that's the one thing you have to do. You see you can even create individual errors that are like poking out. So yeah, you have a lot of freedom and creativity at this stage. Even so much that let's say this is the brush, right? Sometime there are so many tools. Let's say I want to have a lock of hair here. This is the Robert. I can even kind of, you know, here. I can just kind of fake or I mean, it's not faking. I mean, we're just using the breadth of the different area. I'm just going to moving it around. So let's go back to detail a little bit more. So her nose, for instance, kinda move. Now this darker area up a little bit. You kinda want to get rid of the very smudgy. I mean, obviously, we had to get rid of all the noise. But yeah, we went, we kind of want to make some lines a little bit stronger again. Especially here, let's say I want to manipulate, make the nose a little bit more straight. Say, for instance, I can just select apart. And we can just use that brush within the selection and move, kind of like we did with the, with the smart tool as well. And just move some paint down towards the selection and we can do it the other way around verse to selection and do the same for the nodes. Say. So again, you have quite some control here. Let's say we want to, I don't know. Just even change your noise entirely. I'm sorry. Wait. Oh, you need to inverse the selection here. Actually, I'm finding out that this is not working. Maybe it'll just switched to the smudge tool then. Yeah. Yeah. If it doesn't work, you can always switch to a different tool. See how easy that is. It's moved through the hair again. Obviously I'm not going to, you know, brush the entire thing on screen for you guys. For the next lesson, I will have done to brushing effect. But I just want to show you what you can kind of do. Again, I wanted to, Let's say I want to make some more wiser or just older decisions and just make straight just Paul. I mean. Yeah. Why not? Right. That works. That works. Even manipulate the lights a little bit, maybe I just want to a little bit more light on the top of her hats here. No problemo. Here, let's move through our pants or shorts. And I have to say probably. So. Yeah. Again, super easy. Everyone can do this. And yeah, once you do this on the entire image, even on the stool and stuff like that? No. Or I mean, your your picture doesn't have as though maybe other objects but use this brush on every surface. That is what I'm trying to say. And I will see you in the next lesson.
5. Working on Details (Face): Welcome back to our continuation of the pin-up illustration. And Yeah, in our last lesson, we, well, we spent all over a time to using the, I always forget the name, the mixer brush tool to kind of get that painting, effect and aesthetic throughout the illustration. And I just wanted to kind of give you an update of where I am at with my illustration and I can see, you know, I, it's hard to see we use zoom out, but I mean, when you zoom in, you can clearly see that, you know, I use the brush on every area like I said, I would do to create this neat and very, you know, well, it looks really authentic already. So today or in this lesson, I would like to focus our attention to her face. And I know we already kind of went, went to into a little bit detail in our last lesson. But clearly way not enough. Because the face, you know, I need some extra attention, let's say. So this is actually already kind of the final result. And kind of what I want to achieve. I'm sorry for that. I'm going to turn off the notifications immediately. So yeah, as you can see, especially when I kind of turn off the layer, you can see, you know, this is what it was before and this is what we are going to end up with. So yeah, let's, let's just dig into the layer and zoom in on her face. We're going to use, you know, again, we're going to use the tool and the mixer brush the will for the most part, but I'm also going to introduce a different tool here. But let's kinda, you know, first of all, I wanted to change her lips a little bit further. So what we can actually do is just, we can just really boldly just make a selection of what we want the smile to B. So we could maybe do a little bit that. I think it's going little bit quick down here and so on. Change that a little bit. They're like so. And then we're just going to move over to the smudge tool again. And we're just going to, well, Wolf the color and everything against this, the edge of the selection. So you can already tell, I mean, it's still, we're not finished yet. We're kind of already changing her smile a little bit. And I'm just going to do the same for the for the other lip. Bottom lip. Same thing. It's going to move the selection against or smush against the selection. So we're now going to do something about her teeth. I think, you know, it's just a way to camera picked it up. I think. I just want her smile to just to be a little bit more wider. Let's say. I'm not sure if I'm saying that correctly, but just to kind of change that look a little bit. And I'm just very boldly and I know we're going to give her teeth again because this is going to look a little bit strange. Actually. I think this is going up a little bit too much. That's probably better. I'm just really boldly going to the widest area offered TIF and just going to smudge that entirely just like boom, like that. Maybe I'm not going to against I'm hesitant to go. I'm against the bottom lip, sorry. So I'm kind of just move that around. So upper lip and also, you know, be a little bit thicker like that. And already we completely changed her smile now, obviously, especially when you zoom out, it's a little bit, it looks a little bit strange, so we need to still do a little bit more work on it. Obviously, she needs individual teeth instead of one slab. And we're just going again, we're just going to use the smudge tool, I think. And we're going to just pick a darker area and just make the dots very small and just move it down. In here. I'm already already created the crease. That's maybe a little bit too. Yeah, that's probably better. Instrument was wrong. So now I also think, you know, this part needs to be a little bit darker, so I'm gonna smudge some of that color back in the darker color. I mean, like so. And maybe just soften it a little bit, you know, the edges so it doesn't stand out too much when you zoom out. So, you know, night nicely blends in. Now I actually want to have for upper lip and be a little bit more accentuated than I'm just going to move or generally a bit in, I guess, to do that. Like that. And again, I I'm just using the I mean, we're not picking colors, we're not doing anything of that nature. I am just smudging. Again, it's so easy to just using this much do brushing something against the selection is, yeah, it's just incredible how easy it is. Let's zoom out and see how that looks. Really looks at. It already looks a little bit better. So I'm going to use the, going back to the mixer brush tool again. I'm going to enhance some of the lighting on her cheek as well. And once you've kind of yeah, like so. That looks good. And maybe I'm actually going to give her a little bit fuller g x and I can do that by, you know, give, give the other side of the cheek a little bit more shadow. Let's say like saw her over there looks pretty good. Now, I actually want to move back to the teeth for a moment. We're going to switch to a new tool for a second here. And that is going to be the Burn tool. And it's this. And I can that has that shape and guide my meet the full line with the exposure. This is just the intensity, basically, that is what that means. And makes sure the range is set to mid tones. I think it's set to that by default. Sometimes she wanted to move into shadow. It's something you kind of need to play around with. But I found that mid tones is usually the best way to do this. So what the birds will essentially does, it just darkens that area. So as you can see, if I move on the bottom are philip here? I'm just making that area a bit darker so it looks, you know, not as flat as we made it. That's a little bit too much. So I'm actually going to lower the exposure for the moment. Also just do this with a soft brush, you know. Oh, well, there we go. That's probably the reason why it's so harsh. Again, you can smooth out. Again, move back to the smudge tool, going back to the Burn tool. Now. There we go. Now actually also wanted to live a bit of a highlight on our lip. And I kind of see a lighter color here on the left. And I'm hoping I can just switch that out onto her lip to get some hightlight going on. There we go. I mean, sometimes it's just really that easy and if you can't really find a way to smile, a lighter color in I mean, let's be real. You just also have the regular brush. You can pick a color. Maybe just color pick rats and just move through a lighter area so this pink. And we can actually draw something by hand for a change. Maybe that is also a possibility. So yeah. This is let's move on to I mean, this is still not finished to my liking, but, you know, you kind of get the gist. Let's move onto our I for instance. So I think we want to kind of improve her eyelashes. So I'm just going to move to the mixer brush tool in this case and just do the same thing, kind of brush out. Now I can literally like push out her eyelashes like that just to do it for the other side as well. Like so. And, you know, because the photo is just, you know, it's not of the highest quality. Her eyes are. They look a bit I don't know. Low-quality. It's probably because of the photo. And I kind of want to enhance or isolated a bit. So what I'm going to do now is just make a selection. And let's just, first of all, I want more white color in our eye. So I'm just doesn't really matter what I'm going to use. I think I'm going to use the smart tool in this case and just kinda push that white color out little bit. I think that it was already huge improvement. But again, it also looks a little bit strange when you zoom out because it looks so flat now. So we actually have to do some manual brushing here again. So I'm going to move through just the regular brush tool and make sure you have a soft brush or maybe I would stick with a soft brush selected. Just pick a color. You can do that by pressing the key on your keyboard. And then you have this eyedropper tool. Pick a color. And now I'm just going to I'm just going to brush her. I entirely so oh, what does is something that's working out, the opacity that needs to be increased. So actually even more. And as you can see, actually want the little bit of a darker color. So I'm gonna move that down. And now we need some specular highlights in her eyes. So I am going to pick a very bright color. Actually, I'm just gonna color picker teeth. And I'm going to arrow just like a couple dots here and there, see how much that already kind of enhances the entire look. Is rock with opacity. That was a little bit much there for a second. No, a little highlight over there. And maybe that's also a little bit much, but it doesn't have to be like super accurate or anything to move back to the dark color now. Like so. And, you know, that's already quite an improvement. I feel, you know, her left eye is all black. There's like there's like no white showing at all. So I'm actually just going to make a small selection here. Just color, pick the white color from this area. Pick the brush tool. Create some white space there. That's also a lot better. So yeah, this was Joseph. Basically showing off how you can work with details using, again the blob brush tool and the mixer brush tool. You also can do some other things. Need things when I'm kinda show you in the next lesson. So see you then.
6. Drawing Things on top of the Painting: Come back. So in this lesson we are going to do some neat little tricks to well add onto the illustration basically. And in this case, it's also just kind of fun to see what you can do with so minimal tools and so easy. It's so easy once again. But yeah, let's kind of again. So I'm actually, I wanted to add, you know, stockings to her outfits basically. And there's a really easy and needs where you can actually create it. So what I'm going to do, I'm going to select a layer of her like that. And I do that by ordering the command key. And now you have the selection of the entire layer that we isolated within the very first lesson. What I'm going to do now is going to select a polygonal Lasso Tool. Or, you know, maybe it kind of depends on the kind of selection you want to make. Which one of these you're going to select. But in this case I'm going to pick that one. And I'm going to press the Option key on the keyboard. And as you can see, there is a little minus icon showing next to it. What that essentially means is just you're going to de-select stuff again. And I am just going to kind of guess where her panties worth b or the stockings would be in that? I'm saying it's going to be somewhere over there. Now we don't have to be like super accurate about this. You know. I'm just sorry for I am zooming myself in onto the screen. Not really good to do that for your back, but, you know, we're all guilty of it, I guess. So. Yeah, she can see I'm I've cut all that stuff away and going to cut a little bit of the shoe here. Like so again, I'm not doing this doesn't have to be perfect in this case. Actually, I saw that. Yeah. I need to actually select some stuff at it too. Again, a, you can do that by holding the shift key. It's like the opposite of the, the option key in this case. There we go. Okay? And now we're going to create a new layer and we do that by pressing on the plus sign here in the layer stack. And now we're going to pick a color that's what's b for stockings. So. I'm guessing thinking, you know, probably a darkish brown, Something like that. Obviously, you can always change colors afterwards, so it doesn't really have to be accurate that the first strike, we hold option and we press the backspace or delete key. And that it sends me fills the entire selection with that color. Now we're going to move over actually, the first thing I'm going to do is just lower the opacity and you're probably going to tell that it's already kind of doing its job and it's already working. So yeah, about 70 looks correct. And now I'm going to move over to the layer effects. I believe they call them. It's this drop-down menu over here. And you can essentially pick between men need different layer styles. And we are going to move, well, you can already kind of see what, what each one of them does. And I think probably multiply is going to be the one we want. So I'm going to click on multiply. Now I find it a little bit too dark again. So I'm actually going back to the opacity and raise it a bit. But 50. Let's do 50. And as you can see, she's now wearing stockings. Obviously, she needs a band around it, so we're actually going to select the stockings. Now, this layer we just created by pressing the commands greed. Now we have the stocking selected again. And now we're going to unselect everything. We don't need. Again, it's probably something like this. That looks about right. So miao, make selection. There we go. And now we're going to create a new layer with that same color. What are the multiply and adjust the opacity. I think actually 60 was good. There we go. Now find that belief, it's a little bit crooked off here. So I'm actually going to this moment o run layer selected. That looks a bit better. And there you have it. It's that easy. We just gave her stockings. The where. Obviously these lines are a little straight. You can merge these layers with your model layer. And again, play around with the the mixer brush tool and the smudge tool to kind of blended in more. Always this is something maybe I'm little bit lake dimensioning this, but especially when we're merging layers, just copy the one you made so you can always hark back if you made a mistake and, you know, you're not making changes to a layer that you can't. Do anymore. I'm actually just going to merge them right now and do, like I just said, just kind of move back to the mixer, brush through and blend in the layers. Little bit. Doesn't have to be too much, just a little bit of an effect there. Like so. That's good. Now, as you can probably tell, I've already added a couple blobs paint onto her ballot. And again, this was also very easy to do. Let me show you with the last blob of color that I'm going to add in the middle here. So I'm going to create a new layer. And i'm just going to make a selection with the LAS O2 of paints blob like this, something like that. Going to make it red. And this case that, Well, again, we'll the Option key and backspace to make the selection. I'm going to keep that selection for now. And I'm going to move over to the eraser tool. Make sure you have a soft brush selected. Actually, I mean, in this case I probably again try, try different things. I'm going to move the opacity somewhat lower to about 66. And I'm just going to kind of do it in steps, as you can see it at the other, especially at the blue, you can see what kind of what I've done going to actually undo that. I'm not really happy with that. So that's one. It's to S3. There we go. Unselect it. Kinda know, smudge the edges out or do that. And now we want some highlights and shadows. So I'm actually selecting and it's again, I'm sorry. And now I'm going to move to the regular brush tool and just kind of pick a darker color. So we add the rats are just going to move this one down, two more brownish. And I'm going to actually just make a new layer just in case, you know. And maybe it's a little bit harsh Actually, that's definitely be too harsh. I'm actually going to delete that and try it again with the opacity, settle lower on this brush to about 40. That's way better. Something like that. And now if we move to this much Tool, I can actually alter the shape of the shadow. Little bit. Like so. And again, it, it's so, so easy. Right? Now we're going to move to a little bit of a highlight. So I'm just going to, I'm actually just selecting the rat and just just instead move from the dot to a lighter area. Go through the regular brush through again. Highlights smaller, this time. Like this thing that's already pretty good. And there we have it. We have created a blob of paint now because I created ism layer and that's actually what I would suggest to anyone. You know, I'm going to merge the highlights and the shadows with the blob. And now we can actually just also kind of move it around to the exact spot we want. We can also kind of creates a grain effect again by going to the, sorry, the boil up. I keep losing track of the blood rush was amazing. You know, some smite us again. Go back to the smart tool. Work at, work at that way. You know the rules by now. I think you already know what I'm about to do. It's it's yeah, we're we've been using about four tools this entire tutorial. But it's kind of, you know, that's kind of the idea of this entire lesson is that, you know, Photoshop, even for beginner, she can create some very awesome stuff. So yeah, that's gonna be it for this lesson. And in our next lesson, we are actually, well, I'm going to add some shadows, maybe in-between. It's, it's kind of not different as to what I've done in this lesson. You know, it's just adding a darker color, smudging, smudging it out. But it will probably start the next lesson with color correction. And we're going to win a lot of ground in the next lesson because color is very, very important to get that authentic pin-up look. So see you then.
7. How to Colour Grade Using Curves / Finishing Touches: To the final lesson. It's, yeah, it's been quite a journey, but it's all going to come to an end here. We are going to do a lot about the coloring in this last lesson. Because, well, we haven't really touched coloring at all. We've just grab the photo. We've been messing around with the mixer brush, though. But in terms of coloring, we haven't really changed anything. And, and this lesson that this all going to change. So what are we going to do? We are basically going to totally change the look and feel of the illustration in terms of coloring. And to kind of match and replicate that vintage look of the pin-up illustrations back in the day. So I left Google. One of the famous painters back in AA Gill elf grin, I believe his name is. And I mean there are many bands this ofcourse, you can get some inspiration from. Each fainter has their own style in a way, in terms of colony as well. But just pick something you find on the internet that you really like. And based that as a reference image in the top layer here. So to change the colors of our illustration, we are going to create a scan of a special layer. And we're going down here for that. It's great. New fill or adjustment layer. It's this black and white circle basically. And we're going to select curves. Now, curves is really like one of my favorite tools when it comes to, you know, really changing and altering the look and feel of an illustration quickly in terms of coloring. So we have a dropdown menu here that says RGB with four channels. Basically, we have RGB, red, green, and blue. Rgb basically means everything, but just adjust the contrast mostly. But let's dig into it. We're going to alter each channel one by one. And what I always do is create two points at this area and in this area. So we have these four, there's this great four-by-four. So you pick the second line in the third line basically in the grid. And we're going to do that at all of these channels. Like cell. Once we've done that, we're going to alter the, the points. Basically, we can move them up and down. At the end, I will try to explain what each point actually does. So the point here all the way to the left in the very corner alters the pure blacks in this illustration, this corner all the way through to rights. Will alter the pure whites in the illustration. This point will alter the, will affect the highlights, basically illustrations or the high IRR towns. And this point will alter the mid and lower tones of illustrations. And when I move this up and down, you can see how it is affecting. So when I move it down, it comes a little bit darker. And when I move the point up, everything will be a little bit brighter. And I am just going to, I'm going to zoom in a little bit further. Actually. I'm just going to alter each points and look at my reference image and see. Just try to get as close as possible. Or, you know, do your own thing with you, like just do this by field. It's a little bit to the field thing. And now I'm going down to the red channel, do the same thing. So when I'm in the red channel, I'm effective. Basically saying year. I once more ret, to be represented in the darker emit don'ts. Basically. Actually I'm just going to leave that at its place. And as you can see, I'm not moving as a lot. Even like the slightest movement is already making a big change. You can especially tell that right now. This is my concentration. Well, it's gonna move to the green now. Wants a little bit more green in the highlights? Yep. Going over to the blue now. And, you know, a lot of the time, it's just a matter of practice really, to get kind of a feel of what the tool essentially is doing for you. Now. Sometimes, actually most of the time, but I'm not gonna do it this time for that tutorial purposes. I go back to RGB and do every step one more time. Because once you've kind of altered all the steps, once you kind of get a different effect when you do it the second time, just to make everything very accurate. So let me zoom out. I'm not entirely happy with it, but let's move on for the purpose again, for the material. And I can, you know, let me show you. When I turn the layer on and off, what's the big difference this is already making, right? So this is before, and this is after. We can get rid of the. The reference image. Now, one thing I actually always or not always, but sometimes really help, helps is to create a new layer. And we're going to fill that with a, I don't know, a little bit of a yellowish yellowish yellowish color, light color, something like that. And we're going to put that on multiply mode. Now, this is obviously a bit much, but that's why we're going to adjust opacity. I, you know, it's kind of something you need to try out, but I feel you can kind of make the skin tones and painting just a little bit warmer. And I, especially when I look at the older classic illustrations, they tend to be a bit warmer. Looking. So just that layer with opacity set to very low. If you want to change the color, you can very easily do that by pressing command you on the keyboard. And you can just you by moving this slider around. I'm not sure if the changes are really actually showing on the screen right now. But, um, Yeah, it's a small change thing you can test. That's but we're back. What was I about to say? Yeah, we're going to create a new layer. We're basically going, in this step, we're going to smash all the layers together into one single layer, but also a new layer so we can preserve everything we've done before obviously. So we're going to do that by pressing command a, then comment shift C. That's kind of the trick, and then Command V. And as you can see, we now have a new layer with our illustration. And now I'm going to do some steps. These are just steps that I like to do with my illustration, but obviously you can do what you want here. But I like to add some grain, like some sort of film grain and some sharpness studio illustration to bunch. It's just, you know, to just give it a little bit of a punch. So what I'm going to do, I'm going to move up here to filter and then filter gallery. And then we're going down here to texture. And while you can't see me right now, but it doesn't matter. And then we're going to select grain, and then you have a selection of several grain options. Play around with them if you like. I chose soft in this case. And I'm not even sure if this is coming through because it's like very subtle, new, obviously you can increase the intensity, but I felt like six is actually, I'm actually going down to five. Make sure it's very, very, very subtle because when you sharpen it, it'll be more yeah, noticeable that I'm going to press OK. And now I'm going to sharpen the image once. So we're going to move to filter sharpen. Now I'm going to blur again. I know this is really weird. And now I'm going to sharpen it again. Maybe this is just a weird thing, but for some reason, I feel like you want to blur the image one time to kind of soften the very hard edges when, when you select sharpen. And I feel this is kind of a way that, that really does work in my opinion. So well. I'm not sure how to end this, but we're finished. This is the nth result. I mean, let's for fun. I'm going to delete a relay or in-between for a moment here. See kind of where we started. So yeah, it's kind of amazing how big of a difference it actually is. The before and after. So, yeah, this was the original photo and this is the illustration. And let's move into some of the finer details here. Again, I think this is pretty close to getting to an actual real painting. So yeah, I hope you enjoyed my class. And well, maybe I'll see you in my other, in some of my other classes. And I wish you a great day. Thanks for well, being a student of mine.
Julian Burford, Illustrator
