Transcripts
1. Class Trailer: Hello Skillshare Learners. My name is Sam or Sammy
and welcome to my Studio. You want to learn how to render cute stylized characters like these characters you see here. Yeah, this is the
course for you. In this course, we'll
cover the basics of shading, creating
color palettes, creating a first and
second rendering pass, and then finally adding a simple background
to finish the piece. So whether you're a
beginner artist or advanced artist
learning a new method, I know you won't
be disappointed. So come and join me
in the love of Art.
2. Lesson 1: Basics of Shading: Hello Skillshare Learners. Thank you for tuning in. In this lesson, we're
gonna go ahead and go over basic shading techniques. Before we get into Rendering
are awesome character. We've got to start
with the basics. So even though we're
working on learning how to render without liner, it does start with some
basic sketch shapes. Now, it doesn't need to
be anything too fancy. As you can see or
it's very sketch your LEA sketch, at
least get your light. It's not very refined. It's just sketched in there. And now that will do as
the basis for drawing. So it will do going
create a layer underneath using the Lasso tool. Go ahead. Fill it in. This here doesn't
need to be perfect. Just seem to get the
general shape and make sure that line Art
fills out any gaps. For this one. Go ahead and do a nice
orange color for it. You can go ahead if
you wish to apply either multiply layer and over lay layer to
your line chart. I'll go with multiplying layer. Now, simply sketch in just to fill it out just
a little bit further. Perfect. Now with that complete, we'll go ahead and turn on
lock transparent pixels. That's called a Studio
Paint Procreate. It's called the Alpha
Lock and I believe it's called the Alpha Lock
and Photoshop as well. Any tool you're using should
have the functionality. Now what this'll do, this
when you're drawing, won't allow you to Draw
Outside of what you've already put down on the canvas. This is a big deal
when rendering, as it will make sure you're
not going outside the lines. Because right here, that
would be a problem. Now, the way we're
going to work through the shapes of these, we're gonna go with a big,
medium, small methodology. What that means, that we'll
start with these big shapes. And then once we've put
some of the big shapes and then we can move down to some of the
details like this. And then small shapes. So we're adding in the
real small details. Now. Obviously, when it
comes to a sphere, this becomes less necessary. We won't see these steps
play out quite as much as we will when we go ahead and
move to our final character. With that, let's
go ahead and get started on shading less. I like to start at building
out my color palette here, just off to the side. Obviously more on how I build out my color palette in a
different lesson in the series. So I'll just go ahead and
just added in real quick, go kind of intuitively for it. So sometimes I'll go back
through and I like change. If I don't like how
it was turning out. Something like this, this gives
me a good starting point. I'll start with a large shadow. Now for this, I'm
using Cute brush. Specifically, I'm using Mark
Bernays legendary brush set. I'm not sponsored or anything. It's just what I've been using recently and really enjoying it. So what we'll do here is we start with this
large shadow shape, will select a color in-between. We'll continue creating
this gradient along here. Now at this point
again, we're Coloring under our line Art layer, will be able to go pretty extreme with this without
losing any detail yet. You won't be painting
over them. Later. Rotate it just a little bit for bit more of
an aesthetic lumps. Alright, now that we've
gotten in our large shapes, we'll go ahead and move
to some medium shapes. So for starters, I'll add
in a reflected light. Now, the reflective light. Well, a bit
counter-intuitive at first, actually adds a lot of
dimension to our sphere. Now this line is actually being caused by reflections
from whatever surface It is on. So underneath the sphere, you'd have a surface down here. Who would have the
different cache shadow? It looks something
like this and some of that light will reflect
back onto our sphere. Now, if you're looking at
standard everyday objects, that reflected light is going
to be a more understated. But when it comes
to illustrations, really making them pop, really make a difference. I like to have just
a nice gradient. And then I'll even go
through and I'll add to my color palette real
pop of color. To add. Just like this. Now moving back over here and
go ahead, start sketching. There were some highlighters. So obviously, some of
the Stylized been doing recently is a lot more texture. So I'm not going to put a lot of African emphasis on
smoothing it out. But if you're going for
more of a soft light look, you could do this with
like an airbrush. Do it with a brush like
what I'm using and simply smooth it out afterwards. I need to do that with
something like the blend tool. You take that you
blend it out a bit. Actually blend out
the edges just a bit. Leaving it at high brush density to make sure we don't
lose that color. Now lastly, moving into some of the small details
of bowhead, add. Some of these reflect
these right here. Fact ago, when I solidly white. I'm just here on
the sign outside. I'll give a little reflection. Then the last stuff I do for
something like this is I create a layer over top
of my multiply layer. And on this one I won't actually use any
alpha lock layer. Which means I will
need to be careful since I will build To
Draw Outside of my shape. I'll use this. We'll start actually
painting over my sketch. Now, how exactly you
do this is up to you. Some people, the way they like
to do it is the lower the opacity a lot and replace it and eventually
turn off this layer. I actually like
leaving that layer on. It's all simply paint over it and leave that layer
in the final piece, I think it adds a
little bit extra. And it just, it works really
well with my process. But in no ways you should, you feel like you have
to yours go ahead and experiment with
what works for you. I'll keep making my way
around obviously, sphere, this is a lot simpler than it would be on a whole character. Really forces you to make
some decisions about what's important, what's not. I still like to leave
some of that outline in. I think it adds good
character piece. But again, you don't
need to do all that. But I think it helps with that round shape as I'm
looking at it. Thank God. Okay. Maybe add a
bit more shadow right here and make
it a bit darker. I can even take a nice dark red, even add a bit of a
new outline Around. Made sure it doesn't overtake
what we have already. Just to help hold the form, especially since
we're really going for a stylized look here, really uses a lot of freedom. Just like that. Our sphere is done. I can move along and I can do the same thing for
triangle shape. Be a very similar process. Just like that. You start with a base color. I'm going to do the bowl. They can go ahead and I'll
reuse this layer up here. Go ahead and create
hello palette. We'll start with our base color. Shadow. Go for red
flags reflective light. When go ahead and
start adding color. I'll actually start
with the lasso tool. Just to find this whole
section purple to start with. I can go ahead and push
it back a little bit. Because this object
isn't spherical, actually have a bit
more of a concrete. This signs and light from
the sides and darkness. But there will still be some variety there
we can include in. So we can go add in
the lecture slide, we can even have it
connect down here, have highlight, catch this edge. And then this, right. Not super detailed
here, but that's okay. I'm here, I'm gonna go ahead, move to the layer
on top, my liner. Then go ahead and start
working on moving. And there you go. And if you've want, we can
go underneath the triangle. Adding a shadow. Nice it just like so. Then from there, you can
go ahead and continue this exercise with
your other shapes. Once you've done that,
go ahead and move into the next lesson.
Hope to see you there
3. Lesson 2: Creating your Color Palette Part 1: Hello Skillshare Learners. Welcome back. This lesson we're
gonna go through Part one of how to design
your Color Palette, Creating your Color
Palette, Palette Part one. So what we're gonna do
in Part one is we're going to determine
the base colors. So we won't be building out, but the shading will
be anything like that. And this one, we're
simply going to design the composition
of our character. Now, how I like to start this is actually with the skin tone. I find depending on how light or dark you decide to skin tone, that can really influenced the style choices you end up
doing for your character. So I feel like that's
a good place to start. So for her, I'm looking at
giving her this nice light, peachy tone and answer,
really nice color. So I'll go ahead real quick. Use the Lasso tool. This row, the seat place. What I'm doing for this
as I have a base layer, I can be any color really brown. And then you go ahead and put your other layers on top
of that as clipping layer. And then did use the
same techniques and the previous lesson
to actually see them. Now, when getting small
objects like this, watch, don't worry
much about them. You can put the skin
tone over them. Simply go through
later as we put in those colors and touch it up. So we can honestly be really, really loose with
it at this stage. May doing so end up saving
ourselves quite a bit of time. I'm gonna go over
some of the hair. And then just whenever
we put in the hair, will use that to erase the skin. May be good. And then actually got just a little bit
of Tony POP3 here. So let's go ahead. Fill that in. There you go. Now that we have the skin, we can start working on figuring out the other colors
we're going to put in place are let me go and
just moving my layer real quick. Create new layer. And then from here,
figure out, okay, what do we wanna do
for maybe her pants? So obviously these are genes, but we do blue jeans. You do lac genes than that. Do light blue. Dark blue. Enough for these. I'm thinking through it. I think I want to go
with black jeans. I think that'd be
more interesting. Not to say I'm always
drawing blue jeans. It's just more interesting
to go with black. I'll do here. You can see obviously I've gone
over the skin a lot. Simply select our
skin layer late. And there you go. Got that in place. Now this takes us to the shirt. Now what I like to make sure
I'm dealing with a lot of these colors is adding
complimentary tones. So for most of our character, we're going to go with
very warm colors. So her pants, black pants, but I'm actually living in
the red area for the pants or skin tone is a very warm color. I'll probably give
her brown here. So I'm actually going to let
that be contrary to that. On this color wheel here, I'm going to select the skin
and I'm actually gonna go to the complete opposite side. I'm, we'll start
there, just see how this color looks in place. Like the excess. And I really liked that as
a starting point. Now I am going to
adjust it a bit more. It's a bit more of
a teal color is blue and that looks very so. What we're doing here is
by making sure we have this colder tone is a contrary to the rest
of our character. Looking really nice,
I'll probably give her blue eyes as well to
get a similar effect. Now from here, go
and do her hair. Like I said, I'm gonna go for, I think a warm tone thinking
maybe even red hair. Kinda FUN. Four here because I am going to need to erase
some of the skin I put down. I do need to be more specific
when making this selection. That said, as you do this, feel free to go outside the lines because
your clipping mask, we'll make sure that all
stays nice and neat. I like that quite a lot for it. Miss some of the
hair right here. Any Russian war? Perfect. I'm going to select
the hair layer of skin that's under the hair. Hey, that's looking pretty good. To go down this path
layer again real quick, I forgot. Coloring. Belt spots. Touch that up real quick. Alright, perfect. That's looking pretty good. We can put in just a
basic accessories. So we've got a watch
of sorts here. I'm just going to reuse
this black for the band. Leaving, go around a liner with a plan for them for
this area in here, want to go for a blue to represent the
display, the screen. Like that, similar to the teal shirt, you'll
add a nice area. Interests. Gonna
do the same here. This is one of those straps, something you're working out, your phone and given her
one of those, obviously, we've got her phone here two, the same color for the outline, but then we'll grab
the same blue color. Use it for the actual screen. Alright, looking pretty good. Alright. Now lastly, I'm going to go ahead and
make a layer for her face. We'll go ahead, make
decisions like is this her chunk or her
teeth? Let me go with T. Given us a nice toothy smile. I won't really do anything
with the lips for now. I'll be getting that
later, but I will do. The whites of her eyes. Go ahead. And then you said lied, I'm adding one more
layer for the pupils. Again, I want to do
a nice blue color. Really add to that nice feeling. They're actually just use
the lasso tool, right? Same the other side. Don't worry about that
being too perfect yet. We'll tonicity. Alright, in perfect in here. Now we have our
basic color palette. Again, we'd gone very
much so with warm colors. These pants, skin, the hair. You got some nice
complimentary cold colors like the phone, the eyes, shirt. Now, honestly
looking at the shirt now with everything else, the other blues do think
I'm actually going to tone that back to a bit
more of a blue color. That way it compliments the
rest of the bluesy cabin. Alright, and there it is. We've designed our
basic color palette. From here. When you take colors and put
them over here that way, continue to have access to
what our original colors were as Rendering older. Like Saleem do the screen here. And then what we'll do
in the next lesson, I'll show you how to finalize these different
color palettes by adding in with the
shadow, with the light. Highlights are going
to be the reflections. Go ahead and join me for Creating your Color
Palette, Part two.
4. Lesson 3: Creating your Color Palette Part 2: Hello Skillshare Learners,
and thank you for tuning in. In the previous lesson, we talked about how
to go ahead and get your Color Palette started,
complementary colors. Now, in this lesson, we're gonna go ahead and
take the colors we have. We're gonna go ahead and build
out the color palette for shadow, highlights,
reflective lights. Let's go ahead and
get into that. Let's go ahead and
start with the skin. Now. We'll do a lot of what will be avoiding is as we are
selecting our color, we want to make sure
we have good depth. So good way to kill depth is
to simply come down here, just pick a slightly
darker color. She says We put
that on our skin. Just really looks muddy and
just not especially good. So instead, as we do this, we want to make sure that
we're moving our hue. Now the big question is, okay, so what do we move our hue to? An answer to that really
depends on the lighting setup. A good rule of thumb is if your character is outside
or in standard Lighting, than the shadow is going
to move more towards the colder colors while
the highlights are going to move more towards
the warmer colors. So that's what we're
gonna go ahead and do for this character here. Start with your base color, will move towards
the colder colors. And then we'll kick
a darker color, as well as a more
saturated color. Go ahead and put it here
on our color palette. You can see here for start using this as a shadow or character. That really looks
a lot more alive. Now additionally, what
I'll do, if you recall, we had a really nice I like reflective light on here called the rim light. So pick slightly brighter color. So here it looks like it'd
make a good rim light. So we'll go ahead and we'll add that to our color palette. And I'm actually gonna make
just a tad cooler as well. Just here. Going create nice, warm color. Might be attend to bright. Want to make sure to color. I'll be able to put some
highlights on here with yeah, like this color quite a lot. Go ahead and add that. Then we'll go ahead and add in an extreme highlight
right there. That's the skin. Now we'll go ahead. I'll do the same for the hair. A bit of a colder color. But that, and it's the shadow. And nice rim light. Highlight. Extremely light. There we go. We'll do, you'll continue this process for
each of the colors. If you get stuck on a color, go ahead and actually just start coloring
over your characters. It needs to be
anything permanent, just color over it,
see how it looks like. I really like that. So that can be shadow
for the shirt. Then test out the
rim, lighting out, love that for the room like the we look through
June 5 grader. This would work like Sweden. Go ahead and put that there, then just erase that. And that'll work light. Then we can do
extreme highlight. Go ahead and do that
for all of your colors. And then once you've done that, go ahead and join me
in the next lesson.
5. Lesson 4: Coloring your artwork Pass 1: Hello Skillshare Learners. Thank you for tuning back in. In this lesson, we're
going to go ahead and do our first rendering pass. This would be our initial
render that will be under our liner layer method
we're going to use for this is a big,
medium, small method. We're, we'll start with
Shading the large shapes, then when the medium shapes. And lastly, we'll move
into the details. Now the way I'm going to do it here is I'm going
to go ahead and start with the skin and
we'll do that in real-time. And then I'll go ahead and do a sped-up version for the
rest of the material. If there's a specific Tirole material that you're
interested in, nor please make sure let me know and I can do a
dedicated class on that. Starting here, I'm
gonna go ahead. Scott, my skin layer, it's in alpha lock. Should real quick
and it's going to delete anything outside
to my base selection. Grab Shading, and
we'll get to work. Now, I really liked to start
just the obvious places. So for instance, there's right here where we have a shirt
that would block sunlight. We have under the neck. If for saying that our
light sources up here, which I'm gonna do for this one. Then obviously we'll have some shadow on his
side of the face here. Mostly shadow on
their side the ear. Again, don't worry about
too much detail on it. Starting with large
shapes, smallest, later. Under the nose, the eyebrows. Let's just continue adding in shadow. With, again, with
this large section, it really is just going to be
what are the obvious thing. Here? I'm currently
rendering with Mark renames Cute brush from
his legendary brush pack. I'm not sponsored and
what's whatsoever. And by no means you have
to use this brush here. It's just the brush
I've been experiencing with a very common one, is just the basic round brush
that comes in your program. Have done that one quite a bit. But recently I've just been
enjoying this cube brush. That's what I'm using. Go ahead and use whatever
you're comfortable with. But know that for
this first pass, whatever you're using
shouldn't be a soft airbrush. Everything should be bold, you should be making
decisions here. Nothing should be indecisive. Here's what I'm
starting. Right here. It's pretty good place to start. Large. From here we
are adding see that? Rim lighting color rehab. They're putting in and already you can see
it's starting to look a lot more
three-dimensional. Snag, highlight
colors, start getting. Highlight basics, things
like the cheeks, nose. Put on this side here. Just a little. Lips. Shoulders. Bus here should
have some finally, obviously anything facing more towards the light side
should get less light here. Will definitely see
some of it in the ear. Collarbone is
definitely going to count some of that light. Eyelids be catching some of that fingers,
definitely the hand. Here. We're going to
go ahead and move to the medium details. This point we can
zoom in a bit more. Start grabbing these
in-betweens here. So we have this Coloring,
this color with this, this little sliver here. Another color we can grab that, just start blending it in. Now, a lot of you
will find that during this stage of the
Drawing Painting, say, it's gonna look Ugly, it's gonna be
really discouraging. Really. I just say
trust the process. Keep going forward,
keep pushing through. No matter if it's
looking bad or not. Strive to finish the piece. I've had so many pieces, many of them even recently. Where I've been in
this initial stage. I just, I hate it. I think it looks horrible. But I ran the piece of
the completion anyways, I'm just absolutely love it. So as you're working, just make sure Take your
pieces to completion. Because many of them who actually end up
liking at the end. You had rim lighting
and now the shadow on this side shouldn't be quite so extreme as it was initially. So we're gonna go ahead and
push some of this shadow back with just some of
our base skin tone. Now a lot of it's going to come here is just going to be with the study of facial anatomy, which I won't be going over much in this class here though, if you do have
interested in that, makes sure let me know. I can see about doing a
class on it at some point. But I definitely encourage you, as you're looking
into Rendering faces, that you have some
references pulled up and where the shadow
is going to catch. And then honestly do a lot of graphite sketch in the face. Adding a lot of
contour lines to help understand or every
element should be. You'll find that really
ends up helping him. Then honestly, I do this
a lot just as he find exponent out in the field who release that are
processed videos. We spend a lot of
time watching those, especially for these bind
the ones in real-time. Find some really helpful
information there. Sorry, I'm actually
using my blending tool just a little bit too soft
and a field D-shaped, don't be using it very much, but just so many areas. Adding just a bit there. I want to go ahead
using my highlights. Push back some of this area. Should we still have
a nice bright faces predominantly she
is in the light. Something I'm actually finding
as I'm looking at this is, I don't think it's highlight is actually as
red as I'd like to be. Go ahead and experiment
a little bit here with maybe some additional red
that I can get into the face. Not going to replace
what I have, but I can use the spur,
maybe some flushing, it just puts you read anything. Alright, let me keep
moving forward. This stage in the
medium section, it really is going to be
just a lot of fine tuning. Binding works fine too. What doesn't work? So this is honestly where
you're going to spend. Really the bulk of your time on your pieces is in this middle
section of the Rendering. Having a good idea of
the process to follow, I now come with time it, whatever process you like. Having a good idea of that will help speed this section up. I find putting the extra
time into building a color palette really helps
speed this process up to. But I wouldn't try to rush it. Just let it take however
long it's going to take. And as you do it more, as you get better,
it'll take less time. My guess for the full
rendering of this character, which is going to include
the steps we follow. The next lesson is so likely be maybe 2 h of Rendering page. Take a guess. But who knows, maybe
it'll be long time. This is looking
pretty good so far. And I definitely want bring back some of the
shadows down here. Made go head to this real
clapping, grabbed my layers. Real quick, just
go to correction. The experiment a little bit. The color here. Just made a slight adjustment
to my color palette. There would be, he'll
just ever so slightly, but it's making the skin tone
just a bit brighter here, which you think will work
really well for our care. So what that you can go
ahead and keep moving on. Now, a lot of depending
on your style, you want to Painting
is really going to change how you do this step. So for instance, a lot of
how I'm doing this is I'm, I'm okay with a very
rough look in the end. So I'm not going to worry too much about making
everything smooth. But you may really want a very smooth style
to your piece. If that's the case, then you'll likely spend
longer on the rendering. What you're going
to put emphasis on is going to be
very different. Just know that that's
going to really change some of how
you render this. But ultimately a lot
of what you're doing is creating smooth
transition for the Lighting. It's already been put down. So you'll still find
areas where you don't like what you've put down earlier and you'll
want to change it, feel free to do so. But a lot of the
decisions have been made. We're simply solidifying
that in our character now. Moving on to them, had nice
bright color in there. I'm actually going to
take highlight color, trying to make the fingers
actually stand out. We get the fingers more
on the second pass. You'll definitely see on these that are sketch
layer we have here is certainly going to add just some extra darkness to them that we won't
want long term, that you don't really need
to worry about that rank. Now, for the previous hand breach, going to add a bit of
highlight in here. But again, the majority of what we'll do
here will come with her second pass to really
get detail in there. I'm going through
and I'm putting this really nice
highlight that we made the most distinct locations
to really make it pop. So put some of the nostril
on the bottom lip here. Long jaw line and
neck collar bones. And then just to
round anything really just pointing in that direction. We want to make sure you
have some nice color. This here is actually a really good first pass for the skin. New more things. I can
add more highlight here, which can add more dimension. That's a lot of it. It's really just
getting with dementia. Just like that. Really got a lot of good shape. So now I'm gonna go head and
rendering the rest of this. Still let you watch the
process and everything. I'll simply speed it up. But from here, we'll move
on to our second pass. Let's set in the meantime,
please go ahead and joy for the next minute or so. About an hour of work
Rendering everything else
6. Lesson 5: Coloring your artwork Pass 2: Hello Skillshare Learners, and thank you for
tuning back in. I hope you enjoyed that little montage me rendering the rest
of these materials. Now that we've completed that
first pass through here, we'll go ahead and move
into our second pass. So what I've done here is
I've taken a line aren't layer and I've turned it into a clipping mask layer
over everything else. I'll go ahead and create another layer over
top of our Leinhardt. Now, this layer we will not be using the clipping mask for, so you can draw outside of
what's currently there. Now this is a
double-edged sword is, it is quite helpful
because it means that especially saying
Drawing the hair, we can go outside at if
we feel it's necessary. However, also means we can
accidentally got signed. So it's something to make
sure you're careful love. But at this point
we're really getting down to the details, to the pros and cons
outweigh the negatives. That said, if you
don't like doing that, you can always merge all
these previous layers together and swap between the Alpha layer depending
on your purposes. That let's go ahead and get into what we'll be doing here. Like last time,
I'll put the focus on doing this for the skin. And then for the sake
of your own time, I'll go ahead and
speed up the rest of the processes to do
everything else. Moving it in here, I'm looking at areas before we can start cleaning up and starting
to get rid of the lines. Now, I never fully
get rid of the lines. A lot of people, they'll reduce the opacity. Man, you can see how messy
it gets once you do that. And then eventually it'll
turn off the liner layer. Now, I actually think what
we have here really adds. And so I actually won't be, won't be removing that layer, I'll simply be painting over it. And so ultimately in
the finished piece, some of these lines will still be there because I haven't
painted over them, but most of them will
end up painted over. So we can go ahead
and start here just with the rim lighting. Start expanding that out. Like so. They'll allow us to
smooth it out of units. We look here, we've
got a little gap here. I can take that hair color. Just go over it. So smooth. The file. Go ahead. Put that down here as well. Clean this up because we
haven't used inked lines, but instead just taken
a refined sketch. There's definitely a
lot of cleanup that can be done during this stage. Really help your piece pop. Right here. I'm actually going to go
ahead and use the Lasso. Just so I can be a bit more
specific in what I put here. Just like, so I can blend. Just like in the
previous lesson. A lot of this is just
really small refinements. As you continue to do more and more pieces
to this workflow, you'll find what those
refinements are, what you like to do with them. Things like right
here, like this. You have this line
and I'm used to represent the shape you can get from the neck
down to the collarbone. Shouldn't actually be a
phone line and actually add in this highlight shape. Then we put cash shadow behind
that little shape here. I can then fill in life
that you've gotten rid of. The lines will still actually maintaining really good shape. They're always put our
highlight back in. Like so. You a similar thing
for the clavicle here. Color bonus, it's oftentimes called just get rid of
a lot of that line. I'm going to leave just
a little bit in there. Almost like a nice
stylistic look to it, but I like the,
you don't need to leave part of the line in there. But since I'm not going
to full-blown realism, what I prefer, it's what I like. Looking good. We can even remove the
layer so far just to see the differences in already see it's pretty
significant change so far. Moving back to the head, I can start working
on here a little bit. You can add in just
highlights here. Just really try to Shape a bit better and have all these extra
lines here we can get rid of. That's really helpful. And then eras are
oftentimes trends loosen. So I'll just put red here for some of the light that might be
shining through it. Like that. Bring us through, add some
blush and read Lushan. You can give her just a little
bit of lipstick as well. Just take a read
and just softly N. Now we can add just to put a shadow and highlight
in there as well. It's Hulu highlight the
brighten that up a bit. Top here. Put it in shadow a bit, a little bit different,
you get right here. I'll just add that in there. Again, really, it's just
kinda be these small details. I really find more you do it. The more details you
find that you can add. It's not necessarily the
kind of thing where I can say details you
have to do because, well, it's really going to
depend on your character. For instance, I
could come in here, I can define it and maybe
the gums a little bit teeth though for my
character, I like it. Just really
simplified like this, but that may not be how you want your character
and maybe that's detail you can find
important to add. It's really just something
you discover more and more as you make
your characters. I'm going to add
little highlight and along with their look at that, just the difference between the face so far really
is quite drastic. For myself. A lot of what I'm doing is anywhere
where there's a line. When I ask myself, is there a different
color I can put in there that can better
represent the shape? Right here. I'm gonna go ahead and just
putting in that rim lighting. It's really nice. Down here. I'll go ahead define
a bit more of a shadow color I
can put down here, just under the nose
and into the nostrils. Actually, I don't
like that at all, so I want to undo that. Go back to this color. But maybe we can
define the nostril. Here's just a little bit more. Make sure we keep them nice. Highlight. Take the
highlight color to find the top nose. Can even have go up the bridge of the nose
just a little bit. So again, it's a lot
of these small things. You'll find out what you like. Memorial, little bit
that already, again, just flipping back and forth, you can really see the
difference this section is starting to make
on our character. And this is really,
we'll spend a lot of our time by not having the setup and more of an Orthodox layer structural if we
didn't beginning, It's really gives us the
freedom to mess around and do really whatever we think is necessary to make the
character look good. So for instance, here
I'm going to grab a slightly higher
highlight color. Gets clavicle bone highlighted. And then I'm going to bring in just a little bit darker
color and edge right here, almost painting the line
back in a few spots. Just to help define that hard. Something you'll find
helpful is the further you move away from
your focal point. Generally being the
face on a character is the less detail you
actually need to put in for it to look realistic. So make sure you
put the majority of your concentrated
detail on the face. Keep moving forward with this. Makes sure that you're regularly saving
your work as well. That way you don't
lose progress. I'm working on a
bigger file so that it takes a solid maybe
five or 6 s to save But make sure you're
not skipping on that. Otherwise you can lose a lot
of time to I crashed file. Not much in the previous lesson, we spend more time
on the fingers here. I'm just going to zoom in, but paint over that
line where needed. I'll even add a
bit to the finger. Define a bit more shape. Honestly, don't spend too
much time on the hand. As we're zoomed all
the way back here, you can't see a bunch of it. So it doesn't really matter. In all respects. It
probably shouldn't even be the zoomed
into the hand. All of us artist, no matter how long we've been doing this, we still have our bad
habits and that's mine. I like zooming in too much. If you don't already
zoom in a lot, just don't feel that. It's a hard one to get
rid of once you have. Don't be watching my
videos and going, Oh, I need to zoom
in a bunch more. Zoom in as little as possible to still be
able to get the detail. You won't be your characters. But the more you zoom in, more you're adding detail actually can't be seen
at the larger level. The hand is great
example of that. Like for instance, I won't
be adding fingernails. From that. The distance that will be going won't be able to see fingernail, so it's not muddied up
by trying to add glad. Now obviously, if
the handrail at closer and that detail
could be seeing them, yeah, definitely
be added in that. But just looking at
from a distance, figuring out what's needed. In this case, some of these lines are still
just a bit thick. So work and getting rid of that. Let me put some nice highlights. Continuing down the arm. Really like how this arm looks. I'm actually not gonna do much except for paint over
some of the line. Like so. It's really all I'm
gonna do there. Again. Could it be
in more detail? Sure. But we'll let detail really
add to the character. They're not really the
rough ER shape here. Actually really add a
nice personality to it that we actually wouldn't
necessarily get if we just spend hours making
it soft shading. Now soft shade, it's
what you're going for then by all means, but it's not necessarily what
I'm making my top priority. You'll notice a lot and I
hope it doesn't disorient. You guys have I turn
my Canvas a lot, just really helps me get
the best line possible. So you don't have
to do it again, it's just one of those
things I like to do it. So feel free to try it out, see if it works in the workflow. Each really my recommendation
on most things is there are 1 million different ways that you could draw
the same thing. And a lot of it's
going to be about what works for you in your workflow. Obviously, there are
some things there. There's the right way to do it, there's right way that
foreshortening works. Though there's many
ways that you can implement that right way
of doing foreshortening. It's a similar thing. So ultimately even if
something were to remain, maybe it won't work for
you and that's okay. Don't worry about it. Find
what's going to work for you. But it definitely recommend trying all these things
that I'm teaching because I think many
of them to prove incredibly beneficial
for your workflow. So again, this entire time, with the exception of a
few times I've blended, I've just been using this same cube brush
for everything now. Again, it doesn't
need to be a brush. This has been something I've
been messing with recently. But a simple, hard round
brush is a great way to go. I'm or even a textured,
hard round brush. It's another good way
you can go with this Let's read this in a few places. I got some extra red really
just make skin tone pop. Quite good. In go through
some of these highlight. Highlight right here. Here. Real nice sharp
line. Going around. Let's go ahead and move arm. Now. Someone is saying just make
sure we're getting it's nice, crisp detail in here. Again, doesn't need
to be super detailed. I really just enough to
get the idea across. And again, it's just
going to depend on the style you're
going for us really. Just let yourself enjoy
the process of making it. And honestly, don't expect
perfection right away. That has led many in
artists destroying. Sam is looking pretty good. Nice out these
fingers a little bit. The honesty with where
they're located, they really don't
need a lot of detail just enough to get the idea
across their della, me. Hey, that I'm
flipping pretty good. Alright, coming back
up to the head here, looking at Draw, I can
make it a bit nicer. That look nice, slick anywhere that we feel
like it'd be nice. I feel color. Here. We a bit nicer, maybe under the eyelids. And more of a shape here. Go ahead. Add a little bit more into the brow here
will probably come back and add more proper
browse bit leaner. Should keep that
placeholder there. Then also extend
this color down. Pass knows what go That's
looking pretty good. Know probably be
a few more things I'll end up doing
on the skin Pass. Honestly, a lot of
How old do this is, how really jumping
around the whole time. This point, I'm going to go
ahead and time-lapse mode. And I'll see you once I've
finished with the second, not the second draft. Drink too much writing stuff. The second pass, you
finalize adding the detail, and then I will see you there. Alright, thank you
guys so much for sticking around
for that montage. And here we are, here is
our finished character. Now from here, we
don't want to end it here with a plain
simple background. We won't be going
into depth about the good proper background
like a school environment, but we can do something to just make it look a
bit more interesting. If you're interested
in learning that, please join me for the
next and last lesson.
7. Lesson 6: Creating a simple background: Hello Skillshare Learners. Thank you for joining me for this last lesson in this series. Now that we have our
finished character here, we want to go ahead and
do something to just make the background a little
bit more interesting. We won't be doing
anything drastic. We won't be drawing
a full environment, but we can make it more interesting than
just a solid color. So to start, what we can do is go ahead and actually just
duplicate this layer. You can go ahead and
fill it in black. Turn it to multiply. We can go ahead and
throw on a motion blur. Good, should over a little
bit lower the opacity, so it's not quite
so overwhelming. Alright. Now additionally here
in the background, we can pick a different color. I've gone for a
lot of warm tones, so let's go ahead and
experiment around. We can stick with that theme. Maybe go for maybe a pale red. I like that quite
a lot actually. So start with that as the
base background and I liked add more here. Just a bit of a shape like this. Go ahead and top. It's like so I'm gonna
go ahead and give it nice white outline on it. Yeah. Looking good. And down here I'm going
to add a nice pattern. Now you can make these
patterns yourself. However, at least within
Clip Studio Paint, faction got some
built-in patterns. I think Photoshop has
some built-in patterns is to go ahead, just see what we got that
we can start with it out like any baseline, we can create something. But I'm sure there'll
be something in here that I'll like, these flowers look really good. Maybe these flowers. Go ahead and import real quick. Take a hot second to
download that pattern. Seem to have lost. Or that pattern
was that I liked. Here is, alright, perfect. Pull that in. Go ahead
and put that background. We can adjust how big
the flower sizes. We can experiment with. Layer Type, see if there's any like Lighten looks quite nice. I guess light in a
normal look the same. So we'll go ahead and leave
it at normal. Right there. Perfect, That's
looking quite nice. Now, over top of everything, they'll create a nice vignette. So go ahead. Right across the board. Make nice selection. Should be the size
of go in, delete. Inside here. Boffin border a little bit. Then we'll throw a nice blur on that house rock
Guassian blur. Blur it quite as much
as I saw was his blur. Brush. Nice. Learn their back
just a little more. I'll turn this into overlay
layer, openly multiply. And then I'll pull the opacity back a little bit like that. Now here, I like to just create a bit of a frame almost as if this
were a framed picture. So going create just little bit of an outline around
the whole thing. A nice white. Disliked that. And with that, we can
call our piece done. Now, go ahead and join me in our last video for
your class Project
8. Class Project: Hello Skillshare Learners. Thank you to those of you
who've made it this far. Now using the knowledge in
hand from these lessons, it's time to create
your own character. To start, you'll wanna make
sure you create a sketch. The sketch should include enough detail to use
for your painting. However, you won't be required
to add as much detail as you would need if you're
doing like an inked piece. So just make sure it's enough
that when you're doing your painting that you
have a good basis there. Once completed, you're
gonna go ahead and start by creating your
initial color palette. To do this, you're
going to create flat colors that you're going
to color on your character. Remember to use the color wheel to create complimentary colors. Once you've established
your base color palette, make sure to use the techniques
taught in lesson three to create your shadows and your highlights to add
to your Color Palette, which we'll use throughout
the course of your painting. From there, go ahead and
use clipping mask layers. And you'll go ahead and do
your first rendering pass. Once you've done your
first rendering pass, you'll go ahead and create
a layer over top of your line Art to do for
your second pass in here, you'll color over your line
Art, you'll touch it up, you'll add all of those
fancy details in this stage. Lastly, now that your
characters complete, go ahead and use the
techniques in lesson six to add a simple background. Once completed, be
sure to share it in the class project section, as well as to comment on
your fellow artists work. I hope you enjoyed and
I'll see you next time.
Samuel Ben-Ezra, Artist and IT Technician
