IntroductionWelcome| 00:00 |
(music playing)
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Hello.
My name is Daniel Lieske and I'm a
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digital artist and trainer at
video2Brain.
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In this course, you will create a
character prospective drawing as drawing
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skills still play a very important role
in the digital age.
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We'll be working with a graphic tablet to
learn how easily classic drawing skills
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translate onto the digital cameras.
Furthermore, you'll learn some digital
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techniques that go beyond the
possibilities of classic drawing and use
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several time saving digital tools that
will make creating your drawings much easier.
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After completing this course, you will
have the skills and the tools needed to
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create your own digital drawings in
Photoshop.
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1. Setup and ScribblesSetting up a document| 00:01 |
So, in this class focused on digital
drawing.
| | 00:05 |
We will have an intense look into the
possibilites Photoshop gives us to create
| | 00:11 |
digital drawings.
And to start with that, the first thing
| | 00:16 |
we have to do is to create a new document
in which we can perform some scribbling.
| | 00:24 |
So, we open up the New File dialog.
And on the question which is the best
| | 00:30 |
resolution for our work could be an
elaborate one but all the time being we
| | 00:35 |
will keep it very simple.
I will just take the resolution of my screen.
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Which is 1,280 by 720.
And I will use this screen resolution for
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my scribbling.
This is a very simple rule of thumb.
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If you're just scribbling, and you're not
concerned about where this scribble will
| | 01:02 |
end up.
in the end, being it in print or on the
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Internet, just take a size that is
comfortable with your screen.
| | 01:13 |
And you can never do wrong by just simply
using the screen resolution for your
| | 01:18 |
document resolutuon.
So, this is our new document.
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Here we will do some scribbling.
And what we can say about our brush here
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is, that it is not really suited for
scribbling.
| | 01:33 |
What we will have to do is to create some
nice drawing tools.
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| Creating a fine drawing pen| 00:02 |
The first Drawing tool that I want to
create is a very fine pencil-like Drawing
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tool, a fine tip that is suitable for
creating small detail.
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And for that, we will adjust the
Photoshop standard brush in a way that
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fulfills our needs.
Now, we'll be going into the Brush
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Palette, and we have a Photoshop Standard
Round Brush already selected.
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Here in the Stroke Preview, you can see
that it is really simple, just a circle.
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And the first thing that I want to adjust
is the roundness of the brush.
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Right at the moment, it's a perfect
circle and by clicking and dragging these
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points on the circle, we are able to make
an oval out of the circle.
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And the second adjustment that I want to
make to the brush tip is, I want to
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rotate the brush tip to about 30 degree.
We also can do a numeric input here, and
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this all now has the effect that I'm not
longer painting with a perfect circle,
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but rather with an oval.
And this gives a slight calligraphic
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quality to our stroke.
I wanted to create a very fine tool so
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the size of 29 pixels is much too big.
I decreased the Brush Size to four
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pixels, and this looks much better.
This is a really small brush with, which
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we can create fine detail.
Zooming in a bit here, however, this
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brush still lacks some quality that I am
looking for, it's still very black, very harsh.
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I want to give some dynamic to the Brush
Stroke and here under the point shape
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dynamic, we will find several ways to do
that.
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And I will choose the top most drop down
menu here and the size jitter, I want to
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control the size of this brush with my
Pen Pressure.
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I am using an Intuos4 Wacom tablet with a
pressure-sensitive grip pen.
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And now, we can see that when I release
the pressure on the pen, the result gets
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thinner and also lighter, by doing that.
Now, there's only one little detail that
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I want to change, it is the Flow Setting,
above here in the Options bar.
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The standard setting is 100%.
I will decrease it to 30%, and this will
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make my stroke a lot lighter and a bit
smoother.
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And now my pen, you can call it the
pencil, in fact, now.
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Now, this tool behave much like a classic
drawing tool, a pencil.
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As you can see, it's not completely black
although we have chosen black as our
| | 03:40 |
color, but the flow of 30% makes for some
nice lightness in the stroke.
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And only if you superimpose several
strokes, you will get to a really dark
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result, and that's exactly what you want
a drawing pen to do.
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It works just fine.
This is the brush that I want to keep.
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And the way I personally prefer to keep
my tools is the tool Preset that opens up
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here, and as you can see, we have a clean
slate here.
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I have eliminated all standard tool
Preset so that we can concentrate on the
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tools that we will create in this course.
By saving your tool into the tool
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Presets, just click this little document
icon down here.
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Now, you can give a name to your tool.
I will name it Fine Drawing Pen.
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And an important detail, this little
check box here that says, Include Color,
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uncheck it, because you want to avoid
that every time you pick this tool
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Preset, your colors change to the color
that you originally saved with the tool Preset.
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If we would check this box here, every
time we would pick the tool Preset, the
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color will change to black, the color
that is adjusted, right at the moment.
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So, we uncheck that because we want to
switch to our tool, with any color that
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we have chosen.
Now, this is our first tool Preset, our
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first tool that we have created, a fine
drawing pen.
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| Creating a fat sketch pencil| 00:00 |
The Drawing tool that I want to create
now is going to be a big brush that is
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suitable to do quick and rough sketches.
It should feel a bit like a big smooth
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pencil on paper, and to achieve that
effect we'll be using a custom brush tip.
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I create this custom brush tip by using
the Lasso tool.
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I create a custom shape here, a bit like
an eggplant and I feel this selection
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with the Gradient tool.
I adjust the Gradient tools that builds
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up from black to transparent rather than
from black to white.
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So that I can build up some gradients on
top of each other here.
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You can see I want one side of this egg
plant shape, to be black and then it's
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supposed to fade over to white here.
A light gradient so let's yeah, that's
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the result I was looking for.
I deselect the selection.
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And now I take the Marquis Selection
tool.
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And by the way, if you hold down shift
you can constrain the proportion of this
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marquis selection to a perfect square.
And this is the brush tip that we going
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to use.
And in the menu under Edit >Define Preset.
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We can now, save this brush tip, under a
custom name, and I'm going to call it Eggplant.
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I deselect, and I pick up the Brush tool,
and now in the Brush palette.
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Under Brushtip shape we should find our
Eggshape brushtip somewhere, there it is.
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And now let's have a look.
That's the brush that we have now as our
| | 02:16 |
custome brush tip, that's.
not at all what we are looking for but,
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it's a good start.
We have to adjust some settings.
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First thing to do is to decrease the
spacing so that we lose this segmented
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look here.
Now, we have a nice and smooth brush stroke.
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We also decrease the size of the brush to
about 10 pixel.
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And that is now starting to look like the
pencil that I'm looking for and you
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notice that.
Due to our custom brush tip, we now have
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this little gradient in the stroke, and
that is exactly what you achieve.
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If you using a very smooth pencil,
slanted against the paper and that's the
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effect that I was looking for.
Now we inherited some of the settings of
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the fine drawing pen that we had adjusted
before.
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We have the pen pressure on the sides
that basically is a nice thing but I want
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to make sure that.
Our, pencil brush doesn't become too
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small, so I adjust the minimum diameter
to 30%.
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This makes sure that however faint I
press with the, with the pen, the
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diameter of the brush never drops beneath
30 percent of the minimum diameter.
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That's starting to look really nice.
And the last thing that I'm looking for
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now would be a little bit of texture and
that we can get here, in the Brush
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palette, under the point Texture.
Now if you don't happen to have any
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textures in this, dialog like me, just
load them with the little Arrow button
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over here.
Load the Artist Surfaces you can replace
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or append them.
I will append them.
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That means that if you happen to have any
textures in this palette.
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The new textures will be added to them
rather than replacing them completely.
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And from these artist surface textures, I
take a nice little paper texture like
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this one.
And we can see a slight effect of that,
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but it's not quite the effect I was
looking for.
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What we have to do is we have to change
the mode in which this texture is applied.
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It is default on Hade.
We want to use the mode Color Burn.
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And this is starting to look like a
textured pencil.
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I already start to like that.
Now, one little thing perhaps to adjust
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another point transfer, I want to give
the opacity of my pencil some dynamic.
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I will use the pen pressure on the
opaciity and now together with the texture.
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We have a very nice broad panful like
feeling on this brush here.
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I like that, we will keep that and again,
we save our brush in the tool presets.
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Besides our fine drawing pen, we now have
a fat sketch pencil.
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And we don't include the color again.
Okay.
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So now we have two very nice Drawing
tools.
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Fine drawing pan, that is very suitable
for creating fine detail, fine outlines.
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And a fat sketch pencil that is suitable
for creating very rough, very quick and
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expressive sketches.
That is what I was looking for.
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We can now start into the fun.
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| Creating a quick scribble| 00:02 |
We finally want to put our newly created
drawing tools to use.
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And we will start with some very rough
scribbling.
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I want to plan ahead on the drawing that
we are going to create.
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And by the way I often get asked how I
create these perfectly straight lines in Photoshop.
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It would be cool if I could say that this
is pure skill, but in fact it's the shift key.
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If you hold down the Shift key.
Every line you draw will be perfectly
| | 00:38 |
straight, either horizontally or
vertically.
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For our drawing project, I have chosen a
motif from my graphic novel, The
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Wormworld Saga, some of you might know
this.
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Motive is the protagonist sitting on a
park bench, waiting for his father to
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fetch him up.
That's a trash bin beside the park bench
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and behind the park bench we have a
large, old tree, with some leaves and
| | 01:25 |
foliage hanging down from the tree.
And there's this Really a nice sketch, I think.
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We have some pavement in front of the
park bench, and as you can see I'm trying
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to pay some attention to the perspective
lines in this drawing.
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We want to create a perspective drawing
of the wall, perspective plays an
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important role in giving your seen depth
and believability.
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And here in the background, there will be
some more trees, and maybe here's another
| | 02:21 |
tree trunk, and this tree trunk and that
tree trunk are framing the whole scene a
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little bit.
Yeah.
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Well this is really a very rough sketch.
It doesn't have to be perfect.
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At this point, it's more or less a
collection of ideas for the scene.
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Things that we want to see inside the
scene, and here we have a little path
| | 03:02 |
going through the park that obviously is
seen here in the background of the scene.
| | 03:19 |
And this really is a very quick, very
rough rendition of the scene that we are
| | 03:22 |
looking for.
And I will stop it now at this point, or
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will I, sometimes when you're scribbling,
you just cant stop.
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You find, detail after detail that you
want to add, and you just cant stop.
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I, will force me to stop now, and this is
the scribble on which you will base our
| | 03:52 |
digital drawing.
And now we will have a look into the
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Layers palette, and we will see that I
have created this scribble on the
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background layer.
And I did that on purpose because, It
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would have been much more convenient if I
had scribbled on a separate layer.
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But it is often the case that you have
either forgotten that or maybe you have
| | 04:17 |
scanned in a pencil drawing for your
first scribble.
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And I want to show you a quick technique,
how to transport your drawing from the
| | 04:27 |
background layer into its own transparent
layer.
| | 04:32 |
For that we will go into the channels.
And buy holding down Ctrl, we will click
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into one of these channel icons here.
And you will notice that by doing that,
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Photoshop selects, or creates a selection
based on the value in this channel.
| | 04:53 |
So, we now have our drawing selected,
and, if we now go into the Layers palette
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and create a new layer, all we have to do
is fill that selection with black, but
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before we can do that we have to invert
it.
| | 05:07 |
Because, what we really did is not
selecting the selection.
| | 05:11 |
We didn't select the black parts.
We selected the white parts.
| | 05:16 |
The white of the paper.
And in order to have the selection of the
| | 05:19 |
drawing itself, we have to go and select
inverse.
| | 05:23 |
And now our selection is inverse to the
actual drawing.
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We will now use the Paint Bucket tool to
fill the selection.
| | 05:33 |
I use these Ctrl+D shortcut to deselect
and now we have our scribble on a
| | 05:38 |
separate layer and it is transparent.
You now could put color under it or.
| | 05:47 |
Whatever you want to do with it.
It's very practical to have your scribble
| | 05:53 |
on a separate layer with transparency,
and the workflow we just saw is, to my
| | 05:59 |
knowledge at least, the most convenient
to do it.
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2. Preparing the DocumentSetting up another new document| 00:02 |
Now this is our rough scribble, and we
now want to start with our drawing, and
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we won't do that in this initial sketch
page that we have created, in the start.
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We want to create our drawing in its own
document, and so under File > New, we
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create a new document, and now is the
time to put some thought into the right
| | 00:29 |
size of our document.
Now basically there are two possibilities.
| | 00:38 |
Either you are going to print out your
drawing after you have finished it or you
| | 00:44 |
will just present it on a screen perhaps
on the Internet on your blog, in an
| | 00:49 |
online forum or something like that.
These are the most common cases.
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And for the first case, if you're going
to print out your creation, then it
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totally makes sense to switch to a metric
over here, either 2 inches or 2 centimeters.
| | 01:11 |
Put in the size of the final print that
you want to have, and increase the
| | 01:15 |
resolution to at least 300 pixels per
inch, and if you'll then hit okay, you
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will create a document that will create
the right size if you print it out.
| | 01:29 |
In my case I put a lot of my art work
directly on the Internet, on my blog on
| | 01:34 |
my website.
And therefore I'm not really concerned
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about inches or centimeters.
What I'm looking for is the right
| | 01:43 |
resolution of my artwork when it comes to
pixels.
| | 01:48 |
In that case, it makes sense to think
about the final size on the screen,
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which, in a portrait format, might be 800
by 600.
| | 02:01 |
This would be a size in which I put a lot
of my artwork, if it's portrait mode, on
| | 02:07 |
the Internet.
But this doesn't mean that we have to
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work in this resolution.
In fact, it makes a lot of sense to work
| | 02:15 |
at least in double the resolution that
your final artwork on the Internet on the
| | 02:19 |
screen will have.
So I double up these numbers here, and
| | 02:26 |
1,200 by 1,600 in fact, is a very common
document size for me, so I create this document.
| | 02:41 |
It is now empty.
And what we are going to do now is we
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are going to copy our rough scribble into
this new document.
| | 02:52 |
I select the scribble, hit Ctrl+C, Copy
in the new document.
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I hit Ctrl+v, paste, and there it is.
Our scribble lies in our new document and
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it's tiny.
We have to scale it up, and for that we
| | 03:08 |
use the transform tool, and the most
convenient way to access the transform
| | 03:13 |
tool, is the Ctrl+T shortcut.
And this pops up the transform controls.
| | 03:22 |
And now by holding Shit and Alt, you can
very conveniently size up your little
| | 03:28 |
scribble, to the size of the document.
So why am I holding Shit and Alt?
| | 03:36 |
I want to show it to you.
If I don't hold anything at all, I can
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completely, freely transform my sketch,
but this is not good.
| | 03:46 |
I want to constrain the proportions of my
sketch so that the proportions don't get
| | 03:50 |
screwed up.
I'm holding down the shift key to achieve
| | 03:54 |
just that.
And now, why do I hold down the alt key?
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As you notice The transformation of my
scribble is constrained to the bottom
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left corner.
I want to scale, the scribble,
| | 04:08 |
constrained to the middle, and that's
exactly what happens if you hit the alt
| | 04:14 |
key while using the transform tool.
Now, this is looking nice.
| | 04:24 |
With the cursor buttons on the keyboard,
you can do some fine adjustment on the
| | 04:28 |
position, and if you're happy with the
result, just hit the Enter key, and there
| | 04:32 |
it is.
It is our scribble, and I want to give
| | 04:39 |
the layer it's sitting on a name, so I
don't confuse it with other layers.
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| Constructing the perspective| 00:02 |
Before we start our drawing we will do a
perspective construction.
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We have some geometric details in our
scene like the park bench or the plates
| | 00:14 |
of the pavement and these have to be
drawn in perspective.
| | 00:21 |
And to make it easier for us to draw in
perspective, we will do the perspective construction.
| | 00:28 |
And a device that I like to use for the
perspective construction, is the Path tool.
| | 00:36 |
With the Path tool, I create a simple
path, clicking once being twice, the
| | 00:41 |
simple path was only two points.
And as you can see I have positioned the
| | 00:47 |
path according to the perspective that is
implied on our rough scribble.
| | 00:53 |
And now I can use the direct Selection
tool to find unit a bit.
| | 01:02 |
And this is our first perspective line.
Now I'm using the F short key, to change
| | 01:11 |
the Screen mode, in order to have some
more freedom in moving my canvas around.
| | 01:19 |
Because now I need some space around my
canvas to duplicate this first
| | 01:24 |
prospective line.
To duplicate it, I just make a
| | 01:28 |
rectangular selection here with the
Direct Selection tool and select this point.
| | 01:34 |
I hit Ctrl + C and Ctrl + V, I Copy and
Paste this point, and then I can drag it
| | 01:39 |
away from its original position.
And I just do this again and again now,
| | 01:48 |
and by doing that, I create a whole bunch
of perspective lines.
| | 01:59 |
And I do that as long as all areas of my
drawing are covered.
| | 02:15 |
I don't have any perspective elements in
the upper part of the illustration so I
| | 02:25 |
will put only a few perspective lines in
there.
| | 02:34 |
And now when you have created this fan of
perspective lines.
| | 02:42 |
You can select the point where all the
perspective points meet, and this is
| | 02:47 |
called the Vanishing point, and you can
move this around.
| | 02:52 |
And as you can see, all the perspective
lines are changing according to this
| | 02:58 |
Vanishing point.
And we will have to find the right
| | 03:02 |
position for this Vanishing point in
respect to our illustration.
| | 03:08 |
Now this looks quite nice.
You might know from perspective drawing
| | 03:13 |
classes that all Vanishing points sit on
a horizon.
| | 03:18 |
I'm firing up the rulers with Ctrl +R and
pick one ruler and move it to my
| | 03:24 |
vanishing point.
This rule now is my horizon, and I need
| | 03:29 |
this horizon because all Vanishing points
in one scene are sitting on the same horizon.
| | 03:36 |
And after having created a first set of
Vanishing points.
| | 03:40 |
I'm going to create a second set of
Vanishing points, and this horizon makes
| | 03:44 |
it a lot easier for me to position them
right.
| | 03:48 |
Again, I pick up the Path tool, I create
a path that starts directly on the
| | 03:53 |
horizon and runs down to here.
And I'm picking up the Direct Selection
| | 03:59 |
tool and move my perspective line around.
And I see that it doesn't quite match the
| | 04:07 |
perspective line that I had scribbled.
So I'm moving this Vanishing point on the
| | 04:13 |
horizon until the angle of the
perspective line fits and my scribble better.
| | 04:20 |
Now, we will do the same, or the first
set of respective lines we copy and paste
| | 04:28 |
this path.
And make sure that we cover the parts of
| | 04:35 |
the illustration that need perspective
construction.
| | 04:43 |
And this is especially in the lower part
of this illustration.
| | 04:48 |
And again, in the parts above I only use
a few perspective lines to establish a
| | 04:57 |
basic perspection of that.
And now after having created the second
| | 05:06 |
set of perspective lines, we can move the
Vanishing point around a bit.
| | 05:11 |
To fine tune the angle of the perspective
lines, and I think that this quite the
| | 05:16 |
right place to put the Vanishing point on
the horizon.
| | 05:21 |
Now we have a nice set of perspective
lines in our drawing, and that will help
| | 05:27 |
us tremendously to construct our drawing.
| | 05:33 |
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| Stroking the paths| 00:02 |
We have this set of perspective lines
now.
| | 00:05 |
And the perspective lines are located in
the Path palette.
| | 00:10 |
Here in the Work path, if you deselect
it, they vanish, and if you select it,
| | 00:15 |
they turn up again.
And in fact, this would be sufficient for
| | 00:21 |
using this path as perspective lines.
But in some cases, it is a bit
| | 00:27 |
uncomfortable to have to go to the Path
palette and turning the perspective lines
| | 00:32 |
on and off.
What I want to have is I want to have my
| | 00:37 |
perspective lines in my layers as pixel
information.
| | 00:42 |
Now, and the way to do that is by
stroking the path.
| | 00:47 |
How that works, we will see now.
First thing I have to do is, I have to
| | 00:52 |
select my first bunch of perspective
lines, I'm doing that again with the
| | 00:56 |
Direct Selection tool.
I select all path around one of the
| | 01:02 |
vanishing points, and now I need a brush.
And I'm going to create a quick brush for
| | 01:10 |
that, a very simple brush.
It should be, have no dynamics.
| | 01:17 |
It should be completly opaque.
It shouldn't be too big, like four, three
| | 01:22 |
pixels maybe.
This is the brush that I will now use to
| | 01:26 |
stroke the path.
I'm choosing a nice color like red.
| | 01:32 |
And what I have to do now before I can
stroke the path is to create a new layer.
| | 01:40 |
I name it Pers1 for perspective.
And with this new layer, with the Brush
| | 01:45 |
tool selected, that is very important, I
go to the Paths palette.
| | 01:51 |
And here this little icon, the tool tip
show that Stroke path with the brush.
| | 01:57 |
Make sure you have selected your brush or
nothing will happen.
| | 02:02 |
So our brush is selected, I hit the
button.
| | 02:05 |
I zoom into our drawing our canvas, and
we can see that all that's selected a
| | 02:10 |
path where painted with red into the
layer that we have created.
| | 02:17 |
I can now turn them on and off with the
layer.
| | 02:20 |
Well, and we want to do that for the
second set of perspective lines 2, so we
| | 02:26 |
repeat all the steps.
We take the Direct Selection tool, we
| | 02:32 |
select the whole bunch of paths over
here.
| | 02:37 |
We select our Brush tool.
And for the second set of perspective
| | 02:42 |
lines, I'm taking another color.
A blue this time.
| | 02:48 |
We create a new layer, Pers2.
We go into the path.
| | 02:54 |
Pull it.
And with our Brush tool selected, we hit
| | 02:57 |
Stroke path.
And again, we zoom in and we see that our
| | 03:01 |
paths are now nicely colored with blue.
We can now turn off the Work path, and we
| | 03:08 |
have our Perspective grid in separate
layers now.
| | 03:12 |
I will now decrease the opacity of the
Scribble layer so that we can have a
| | 03:17 |
better look on our Perspective grid.
Have a look at that.
| | 03:22 |
This grid will help us tremendously to
construct, to draw all the perspective
| | 03:29 |
elements in our scene.
And now we are really ready to start our drawing.
| | 03:37 |
| | Collapse this transcript |
|
|
3. Drawing the BackgroundSketching the background| 00:02 |
We are ready now to begin with our
drawing.
| | 00:06 |
And we will be doing that by creating a
sketch of the whole scene.
| | 00:12 |
And we do that on a separate layer.
So I create a New Layer and I call it Sketch.
| | 00:24 |
And we pick up our fat Sketch Pencil.
That's exactly the tool we need for this
| | 00:32 |
task and now we're zoom in into our
drawing.
| | 00:38 |
And begin to sketch all the elements that
we can see in the rough scroll.
| | 00:47 |
I will begin with the park bench, and, by
the way, we will keep the background
| | 00:55 |
elements of the drawing and the character
on separate layers.
| | 01:04 |
So, what I'm going to do now is I'm going
to sketch only the background elements.
| | 01:11 |
So, the park bench will remain empty for
the time being.
| | 01:18 |
We will add the character later to it.
And now we see that the perspective lines
| | 01:25 |
are very helpful for us.
it starts right at the park bench that we
| | 01:31 |
need some reference how the lines have to
be drawn in perspective.
| | 01:37 |
We can follow these lines directly.
And it's really not about being super accurate.
| | 01:46 |
This is a rough sketch after all.
And the purpose of that is to just give
| | 01:52 |
the whole thing a bit more definition
than we had in the scribble.
| | 02:02 |
But it is, so to say, the big brother of
the scribble is not detailed, but it's
| | 02:13 |
not a scribble, it's a sketch.
Right, that should do it for the park bench.
| | 02:27 |
Now I'm adding the trash bin here beside.
That should do it for the park bench, no,
| | 02:35 |
the trash bin.
Yeah, you'll see I'm, I already begin to
| | 02:39 |
get into the flow of drawing.
And that normally means that I am
| | 02:48 |
beginning, to talk crazy.
That to a popular theory, is because, the
| | 02:57 |
left side of the brain is responsible for
forming sentences and solving logical puzzles.
| | 03:09 |
And the right side of the brain is
responsible for pattern recognition and,
| | 03:17 |
well, and drawing.
Associating, and these two sides of the
| | 03:27 |
brain compete against each other.
And to put it in a nutshell, speaking and
| | 03:37 |
drawing, not a good idea.
I don't want to remain completely silent here.
| | 03:48 |
So I'll do my best to draw and speak to
you, and most of the things that I'm
| | 03:55 |
doing here speak for themselves anyway.
I'm drawing, after all, and you see what
| | 04:06 |
I'm drawing.
And if something interesting comes to my
| | 04:11 |
mind, I will let you know.
| | 04:16 |
Like now, for example, here is this tree
root.
| | 04:25 |
And this adventerous little tree root,
has grown towards this pavement.
| | 04:36 |
And now I can show you why I like
Digital Drawing so much.
| | 04:44 |
I want to take the Lasso tool now.
And select this stone edge here, and I'm
| | 04:57 |
going to bend it away.
I'm entering the Transform tool with Ctrl+T.
| | 05:09 |
I'm adjusting the pivot point of the
transformation to the left.
| | 05:18 |
And now I'm just bending this down edge
here, up.
| | 05:29 |
And now I'm going to erase some of the
things that I have drawn before.
| | 05:36 |
And this, this, tree root here, has grown
under the stone edge and has lifted it up.
| | 05:50 |
And the other part of this edge stays in
place.
| | 06:03 |
And this was an adjustment that we could
do very easily with the Transform tool.
| | 06:12 |
Now I'm going to work on the, on the
trees here in the background, very roughly.
| | 06:25 |
Just want to make sure that the scene is
defined.
| | 06:34 |
We add some foliage over here.
| | 06:36 |
| | 06:41 |
And the tree trunk goes over here.
And since we are drawing
| | 06:59 |
elements now that are in the periphery of
the illustration, we can keep it very sketchy.
| | 07:07 |
Very rough.
We will work on it later, of course.
| | 07:14 |
But also in the final rendering of the
drawing we will keep those elements that
| | 07:19 |
are the farthest away from the center of
interest very roughly.
| | 07:26 |
| | 07:30 |
More branches, more foliage.
Now a little bit smaller, to imply that
| | 07:45 |
they are far away.
We indicate the tree bark, and we will do
| | 07:55 |
that also on this foreground tree here.
Try to follow the anatomy of the tree a
| | 08:10 |
bit, can make these little tree bark
lines here.
| | 08:20 |
More dense on the edges, which indicates
the roundness of the tree trunk, which
| | 08:35 |
gives it some, some depth, and volume.
Can add another branch over
| | 08:52 |
here, just to give this tree some nice
character.
| | 08:57 |
And in the background, we will keep it
really rough and loose.
| | 09:05 |
| | 09:08 |
Just some quick outlines that indicate
that, trees standing there and there, and
| | 09:22 |
we keep it rather abstract.
And we will do that in the final
| | 09:33 |
rendering too because these elements are
far background, they are not of interest
| | 09:41 |
at all, so they don't need a lot of
detail.
| | 09:49 |
Now you may have noticed that I left out
the pavement at the bottom of the drawing.
| | 09:57 |
The reason for that is that we'll do that
in a separate step because there's a nice
| | 10:04 |
little trick I want to show you for
creating patterns in space.
| | 10:11 |
| | Collapse this transcript |
| Adding the pavement| 00:02 |
We now want to create the sketch for the
pavement, here in the lower part of the drawing.
| | 00:08 |
And since we're working digitally, we
will do it the digital way.
| | 00:13 |
I will create a new document, I will make
it 1,600 pixels square.
| | 00:23 |
And in a new layer, I draw one plate of
stone of which the pavement is.
| | 00:43 |
And I use the Shift key, again, to make
nice straight lines.
| | 00:51 |
Now I guess I will resize this plate a
bit, make it a bit smaller.
| | 00:56 |
Again, hitting Ctrl+T opens up the
Transform tool and this is the size I'm
| | 01:02 |
looking for.
With the Move tool I'm moving this to the
| | 01:08 |
corner over here.
Now I'm selecting it with the Marquee
| | 01:12 |
selection tool, and now, I'm holding Ctrl
and Alt.
| | 01:18 |
Notice that my cursor has changed to this
little two arrows, and I can now
| | 01:23 |
duplicate this stone plate, and I can do
it again, and again, and again.
| | 01:31 |
I can also select now these four stone
plates.
| | 01:38 |
And duplicate those, which is a lot
faster than duplicating it one by one.
| | 01:45 |
And then I'm picking up the last two, and
complete this first row of stone plates
| | 01:49 |
that I have over here.
Now I take all the stone plates save for one.
| | 01:58 |
And again by holding down Ctrl+Alt, I
duplicate those and I put them under the
| | 02:03 |
first row.
And that was a little offset to create
| | 02:09 |
this typical pavement pattern.
And now I can duplicate this double row
| | 02:19 |
and duplicate it again, and again, and
again.
| | 02:29 |
And that way, I have created my pavement,
as fast as possible.
| | 02:37 |
What I'm going to do now is add some
cracks to it here and there, just
| | 02:44 |
casually, where I think that it could
need some cracks to loosen up this
| | 02:51 |
repetitive pattern.
And I guess that, this will be quite
| | 03:09 |
enough now, hand is still drawing, can't
stop hand from drawing.
| | 03:23 |
Now stop it!
All right.
| | 03:27 |
Now this is our pavement seen from above,
the sketch of our pavement, so to say,
| | 03:33 |
and I want to bring this into my drawing.
And I do that by selecting it, Ctrl+C, or
| | 03:42 |
Copy, I go into my drawing, Ctrl+V, or
Paste, and there's my pavement.
| | 03:52 |
Now, everything we have to do is, we have
to bring it into the right perspective
| | 03:58 |
and for that we are firing up the
transform controls again, with Ctrl+T.
| | 04:07 |
I'm sizing it down a bit, I'm making it
smaller, I'm zooming in, and now the
| | 04:15 |
magic happens, by holding down Ctrl, you
can move each corner of the
| | 04:22 |
transformation individually.
And you can align these corners to the
| | 04:32 |
perspective lines, in our perspective
construction.
| | 04:40 |
And now you see that I have aligned the
pavement stones to the grid but of course
| | 04:46 |
they are too small.
And the cool thing is that Photoshop now
| | 04:52 |
knows that I'm aligning perspective.
And Photoshop knows that when I'm moving
| | 04:58 |
this side, that it should keep the
perspective.
| | 05:03 |
Please notice that the right edge here is
always perfectly aligned to my vanishing
| | 05:09 |
lines, to my perspective lines, although
they all have a different angle.
| | 05:16 |
Photoshop knows that I'm in the
perspective now and I can now scale this
| | 05:22 |
whole Layer like I want off the document
borders.
| | 05:28 |
And all I have to do now is to make sure
that I hit the right proportions of the
| | 05:35 |
pavement stones so that they look square
again in perspective.
| | 05:43 |
I'm doing that by eyeballing it and if I
have reached that point I hit Enter.
| | 05:51 |
And now my pavement stones, the sketch
for my pavement stones, set right in the
| | 05:57 |
perspective, perfectly drawn, it would
have take me, a lot of time, to draw that
| | 06:03 |
by hand, and, this technique is not only,
suitable, as you can imagine, for
| | 06:09 |
pavements, it's very convenient for
facades, and fences, and everything,
| | 06:15 |
stone walls, everything.
Every element where you have a repetitive
| | 06:26 |
pattern that you can draw face on, you
can use the Transform tool to bring this
| | 06:32 |
drawing into the perspective of your
drawing.
| | 06:39 |
Now with that we have completed our
sketch.
| | 06:44 |
Every element of the scene is sketched.
And this will be our base to work on the
| | 06:49 |
different elements of the drawing in more
detail.
| | 06:54 |
| | 06:57 |
| | Collapse this transcript |
| Drawing the park bench and trashcan| 00:02 |
The first element that I want to draw in
more detail is the park bench and the
| | 00:07 |
surrounding area.
Now, what I do first is that I take the
| | 00:12 |
pavement that I had crated in the
preceding step and merge it with the
| | 00:17 |
Sketch layer.
For that you just can press Ctrl+E this
| | 00:24 |
merges down the activated layer down to
the layer beneath, and very conveniently
| | 00:30 |
it keeps the name in the layer beneath.
That's very handy in this case, and now I
| | 00:39 |
decrease the opacity of my Sketch layer,
and I will also decrease the opacity of
| | 00:45 |
the Perspective layers.
Because I don't need them so much anymore
| | 00:53 |
because I have performed all the
perspective drawing in the sketch.
| | 01:00 |
And now above the Sketch layer I will
create a new layer and I will call it Drawing.
| | 01:09 |
And now we will start to draw our park
bench and the surrounding object.
| | 01:21 |
I'm using the fat Sketch pencil here
since we have chosen a much higher
| | 01:29 |
resolution for our final document than
the previous scribble page.
| | 01:40 |
The size of this fet Sketch pencil isn't
so fat anymore so that we can actually
| | 01:47 |
use it to create some detail.
We will use our fine drawing pen, too,
| | 01:56 |
but for now it's the fat sketch pencil.
That's our tool of choice.
| | 02:07 |
I just want to give the contours here of
the park bench more contrast.
| | 02:15 |
And the fat pencil is exactly the right
tool to do that.
| | 02:26 |
And not only that.
This tool is also very handy to create a
| | 02:32 |
bit of shading because of the custom
brush tip and texture that we're using on
| | 02:39 |
this pencil brush.
This all looks very organic, just as if I
| | 02:49 |
would be crosshatching with a real
pencil.
| | 03:01 |
Look at that.
Now, I'm taking the fine drawing pen, and
| | 03:07 |
do some more detailing.
I further raise the contrast on the
| | 03:17 |
contours of the park bench.
And this is approximately the effect you
| | 03:26 |
would get in real life when you would use
a very pointy pencil to refine the
| | 03:32 |
outlines in your sketch.
Can also use this very fine drawing pen
| | 03:47 |
to create some wood texture on the bench.
Our character will be sitting on this
| | 03:54 |
bench later, when we draw him.
So this bench will be in focus, and
| | 04:03 |
therefore it needs some nice little
detail, with texture again.
| | 04:18 |
However we don't want to be too accurate
here.
| | 04:22 |
After all the, the whole thing should
look handmade.
| | 04:30 |
It should look like a drawing made by a
human being.
| | 04:34 |
Digital tools are Often set to be too
clean.
| | 04:37 |
Not artistic enough, and a lot of people,
even today, think that drawing and
| | 04:43 |
painting on a computer means pushing
buttons, and just waiting for the end
| | 04:48 |
result being computed.
That of course is not at all the case,
| | 04:57 |
and with this digital drawing that were
doing here.
| | 05:07 |
We want to make the point that athough
I'm working digitally, what I'm doing in
| | 05:11 |
fact is drawing.
Old style drawing.
| | 05:20 |
You can hear the tip of my Wacom pen
scratching over the tablet's surface.
| | 05:36 |
It's nothing different from using a real
pencil, except that you keep your hands
| | 05:51 |
clean, and you don't have to draw on a
piece of dead tree.
| | 06:07 |
Now the trash bin.
And I'm now switching between the two
| | 06:15 |
drawing tools that we had created before.
And these two tools.
| | 06:32 |
A big tool for some rough sketching, and
a very fine tip But doing the detail
| | 06:38 |
work, these tools will be enough for you
to create your drawings.
| | 06:47 |
You won't need anything else.
It's better to limit your palette of
| | 06:55 |
tools anyway, because if you have too
many options, you will confuse yourself.
| | 07:02 |
When I started out with digital art, I
had a massive amount of different brushed
| | 07:07 |
in my palette.
And I, I think I spent more time creating
| | 07:12 |
new brushes than I on creating new
images, and this is okay for a certain
| | 07:16 |
amount of time.
Because you have to explore, you have to
| | 07:23 |
discover the digital toolset.
But when it comes to productivity, when
| | 07:29 |
it comes to bringing your imagination to
life, you should concentrate on a very
| | 07:35 |
limited pallet of tools.
And concentrate on your ideas instead.
| | 07:45 |
We will now add some little details to
the scene that make it more believable,
| | 07:52 |
more lively, like a crushed soda can, for
example.
| | 08:00 |
And some tiny grass leaves between the
pavement stones.
| | 08:01 |
Especially under the park bench where
nobody's cleaning up at all.
| | 08:07 |
Little stones.
That settled down there.
| | 08:29 |
And we will use the fat sketch pencil to
do some shading to the areas where the
| | 08:37 |
light can't reach
| | 08:39 |
| | 08:43 |
That gives more dimension to the whole
piece.
| | 09:10 |
Always try to find ways to enhance the
initial sketch Like some broken edges
| | 09:20 |
here and some intricate stone no wood
texture over here.
| | 09:36 |
But I'm straying too far away from my
park bench.
| | 09:42 |
It should be the center of interest for
this part and, well if we zoom out a bit
| | 09:47 |
we can see that we already have created a
nice element here.
| | 09:53 |
That looks drawn, it looks like a pencil
drawing.
| | 09:58 |
I really like the results so far.
Maybe some finishing touches to some parts.
| | 10:05 |
Darkening here and there.
And we might be ready to go onto the next part.
| | 10:21 |
That's really looking nice.
| | 10:26 |
| | Collapse this transcript |
| Adding detail to the pavement| 00:01 |
Now, we will work on the details of the
pavement.
| | 00:08 |
We keep the drawing layer active.
We put all our detail into one layer.
| | 00:18 |
On the pavement, it's relatively
straightforward.
| | 00:26 |
We have the sketch of the pavement that
is perspectively accurate.
| | 00:34 |
And drawing on the pavement basically
means to emphasize theseBLANK_AUDIO
| | 00:44 |
cavities between the pavement stones.
And putting some grass here and there.
| | 00:56 |
| | 00:59 |
And obviously, we can think about some
details again.
| | 01:12 |
That will make our scene more lively.
For example, we see the root of the tree here.
| | 01:35 |
Ridge, has broken through the stone
barrier over here.
| | 01:43 |
And we have to find out what happened to
the stone plate here.
| | 01:50 |
My idea would be that the stone plate
itself got cracked up.
| | 02:02 |
So that we see some of the sand and
pebbles below it.
| | 02:08 |
And little stones have settled down here.
That is something that regularly happens
| | 02:25 |
when you have edges and crevices and
cavities.
| | 02:34 |
Stuff just settles down there.
And this means that it, it
| | 02:44 |
starts small, perhaps the first stuff
that settled down in those areas is sand,
| | 02:54 |
a bit of dirt.
Then small plants are following like
| | 03:05 |
moss, little grass leaves.
And then when there is some fertile
| | 03:14 |
ground, all types of plants will come to
these places.
| | 03:23 |
The remains of this stone plate have
scattered around the area.
| | 03:33 |
Perhaps they were picked up.
And thrown away by children or something
| | 03:41 |
like that.
And there's a nice little place for
| | 03:45 |
plants to grow.
| | 03:47 |
| | 03:51 |
And I will zoom out a bit, to see what
I've done so far.
| | 04:10 |
And now take our fat sketch pencil and do
some shading.
| | 04:18 |
The park bench will surely cast a shadow
on these elements.
| | 04:28 |
And so we make it a lot darker.
And we will also, darken the areas, here.
| | 04:49 |
The right side of the road, and of this
stone etch.
| | 04:56 |
And by that we indicate that the light is
coming from the left, and we have done
| | 05:01 |
that already at the bench.
And what we try to do now is basically
| | 05:09 |
establish this light situation everywhere
else in the drawing.
| | 05:20 |
I now use the fat sketch pencil to create
some very faint.
| | 05:28 |
Texture detail on these stone plates.
And what I do too is, that I decrease the
| | 05:43 |
level of detail.
The nearer I get to the Edge of the
| | 05:51 |
illustration because, I want to focus the
view to center of, the scene to the park bench.
| | 06:06 |
And therefore for the cavaties.
Between the, the stone plates here in the
| | 06:13 |
very foreground I only use some very
faint, and very sketchy lines to indicate them.
| | 06:22 |
But I am not working them out as, as
detailed as the ones around the park bench.
| | 06:29 |
| | 06:31 |
And this is a stylistic device you can
use, especially in drawings.
| | 06:42 |
In drawings, you don't have to render
everything in final detail.
| | 06:48 |
You can get away with indicated detail
and the viewer will understand that.
| | 06:57 |
However, here around the trash bin, we
are nearer to the center of interest.
| | 07:17 |
And I will create some more detail
again,BLANK_AUDIO like that.
| | 07:55 |
And as I get closer to the left most
edge of the illustration.
| | 08:03 |
And get a little fainter.
They don't even touch the edge of the
| | 08:09 |
drawing, with the full line, I let it
fade out over there.
| | 08:17 |
To indicate the depth of the scene even
more.
| | 08:24 |
| | 08:27 |
And also, here cavities between the
strong plates, they only indicate those.
| | 08:45 |
As I get nearer the middle of the image,
I get more specific and I create more detail.
| | 08:52 |
| | 08:55 |
And here right at the trash bin I think
that the would lie a lot of stuff around.
| | 09:13 |
Rubbish that was thrown towards the trash
bin but, but didn't end up, inside it.
| | 09:31 |
| | 09:34 |
And I will use the fat.
Sketch pencil, to make some dark marks
| | 09:46 |
here on the pavement.
And is obviously, is some liquid which
| | 09:53 |
that has spilled from a soda can that was
thrown into the.
| | 10:02 |
Trash bin, but wasn't quite empty and now
the liquid spilled out and stained the
| | 10:13 |
pavement here.
Some more texture especially, on those
| | 10:21 |
stone plates that are near our park
bench.
| | 10:26 |
| | 10:31 |
We zoom out a bit for orientation.
| | 10:45 |
| | 10:49 |
This part here needs, some more
definition.
| | 11:00 |
But again.
The closer we get to the edge of the
| | 11:13 |
drawing, the fainter our drawing becomes.
| | 11:24 |
| | 11:28 |
Now.
This is about it.
| | 11:45 |
Some quick squiggly lines again for some
texture in there.
| | 11:53 |
And the surroundings of our park bench.
Wait a second!
| | 12:02 |
I was mending that.
And now the surrounding of our park bench.
| | 12:12 |
Is render in more detail.
So, now we can get to the next part.
| | 12:20 |
| | Collapse this transcript |
| Drawing the trees| 00:02 |
Now we are going to draw the trees, and
we will start with the tree directly
| | 00:11 |
behind our park bench.
I indicate its outline.
| | 00:25 |
I directly begin to define the tree bark.
And we continue, we travel up the tree.
| | 00:55 |
We arrive at this branch here.
And another branch.
| | 01:19 |
And trees are really nice to draw.
At least I enjoy it because they are so
| | 01:29 |
organic and you can get away with a lot
of indicated detail.
| | 01:43 |
I will only very roughly.
Define the foliage of the tree.
| | 01:57 |
For one thing, I do that because we are
quite close to the edge of the artwork,
| | 02:01 |
so things that go here are less
interesting for the viewer.
| | 02:16 |
And on the other hand, it would be a
futile attempt if you want to design
| | 02:21 |
every leaf on its own it would take hours
and hours.
| | 02:38 |
And to be honest to you, I don't think
that it would give a lot to the final drawing.
| | 02:50 |
There is something nice about, a nice and
detailed drawing of a tree, of course.
| | 02:56 |
But I think the level of detail that is
needed to depict a tree, ends somewhere
| | 03:07 |
at the branches or maybe the level of
larger twigs.
| | 03:18 |
But normally, you do not have to render
every single leaf in order to show the
| | 03:23 |
characteristics of a tree.
We indicate some dark shapes here, as if
| | 03:36 |
we were looking through a hole in the
foliage, deeper into the, the deeper
| | 03:42 |
leaves that are inside the tree.
And this somehow chaotic pattern of light
| | 03:54 |
and dark, these small shapes, these
indicate that we're looking at a tree.
| | 04:12 |
But I guess that this is quite enough.
Now, more tree bark, we can put these
| | 04:27 |
little lines.
These what vertical scribbly lines, more
| | 04:39 |
densely at the edge of the tree, to
indicate that the surface of the tree is
| | 04:47 |
rolling away from our vision.
And the closer we get to the middle part.
| | 05:01 |
The wider we will space these lines, that
alone will give the tree trunk, a lot of
| | 05:10 |
dimension, a lot of bulk.
And also perspective.
| | 05:26 |
Now, we have drawn good parts of our
tree.
| | 05:35 |
And now, follow the impulse to create
some detail at the roots first.
| | 06:04 |
And I have to discipline myself a bit for
this video course, because normally I'm
| | 06:10 |
jumping around the artwork, a lot more
than what you see today.
| | 06:22 |
But for the sake of organizing the
content for this video course, I'm trying
| | 06:29 |
to work on this drawing in logical steps.
Element by element.
| | 06:40 |
| | 06:43 |
If you want to watch me working on a
regular piece, you would notice that I am
| | 06:54 |
jumping around the drawing a lot.
I'm constantly on the watch for things,
| | 07:11 |
that are not quite the way I would
imagine them.
| | 07:25 |
By the way, here I am drawing some moss,
or lichen, on the tree trunk.
| | 07:38 |
I'm constantly on the watch for parts of
the drawing that I'm not quite there yet.
| | 07:46 |
And as soon as I spotted one, I jump to
it and work on it.
| | 07:53 |
This is a very unstructured and chaotic
process, and I don't want to bother you
| | 07:57 |
with that.
But I think it's only fair to mention
| | 08:05 |
that, the process that you're watching
now, is at least a bit idealized.
| | 08:19 |
Although I have to say that,
concentrating on one element at a time
| | 08:28 |
surely has its benefits.
I'm not really feeling uncomfortable.
| | 08:38 |
In fact, I would say that, I enjoy this
concentration, this focus.
| | 08:45 |
On one element at a time.
So, I'm really trying to bring this tree
| | 08:54 |
to life here.
And I used the fat sketch pencil to do
| | 09:02 |
some shading.
At the very top, I'm drawing some deep
| | 09:09 |
cast shadow now, that is thrown on the
tree trunk by the foliage, that's in
| | 09:17 |
front of it.
| | 09:22 |
| | 09:30 |
Okay, there is still some work to do.
On the right side of the tree trunk.
| | 10:13 |
So, that the whole tree looks consistent.
But as you notice I am really working
| | 10:18 |
very loose here.
| | 10:20 |
| | 10:25 |
I am leaned back and I use very loose
scribbly lines.
| | 10:46 |
To define this tree bark.
It wouldn't make sense at all to get all
| | 10:54 |
noodly about it, and getting obsessed in
every little fold and crevice on this
| | 10:59 |
tree bark.
In my opinion, that would only make the
| | 11:15 |
results stiffer and lifeless.
I think it's better to be really loose
| | 11:23 |
and improvise these coded forms.
All right, that's looking good.
| | 11:43 |
I will have to do basically the same with
the tree on the left, there's no need for
| | 11:49 |
you to watch that, too, as it is exactly
the same that I did the last 10 minutes.
| | 11:56 |
So, I will just add that and we will jump
to the last part of drawing the
| | 12:01 |
background, these very far away trees and
these parts of the scene that are in the
| | 12:06 |
farthest background.
| | 12:10 |
| | 12:13 |
We will come to that in the next video.
| | 12:19 |
| | Collapse this transcript |
| Drawing the rest of the background| 00:02 |
Now we want to create the final part of
our background and this is the far
| | 00:07 |
background here with the two trees and
the bit of the grass that is growing here.
| | 00:17 |
And you notice that I have drawn the
second tree.
| | 00:22 |
I have spared you watching me doing that
because it was exactly the same as the
| | 00:26 |
first tree.
I have added some detail like these
| | 00:30 |
posters here to add more characters to
the scene, but basically I did exactly
| | 00:35 |
the same as with the first tree so you
don't have to feel left out here.
| | 00:42 |
It would have bored you anyway.
Now, I have once again selected my big
| | 00:50 |
bad scetch pencil and I'm using that here
to put some grass detail into the
| | 00:59 |
middleground and you really don't have to
be too specific about that.
| | 01:13 |
A few scribbly lines will be completely
enough to tell the story of this little
| | 01:21 |
lawn over here.
Now we have the path that is going
| | 01:40 |
through the park here.
We're just going to indicate that a bit.
| | 01:53 |
And it totally makes sense to become
smaller with the elements that you draw,
| | 02:02 |
the further you recede into the
background, again, to support the
| | 02:10 |
perspective and the depth of the scene.
And make those grass blades bigger when
| | 02:27 |
you come nearer towards the foreground.
And also you don't have to cover the
| | 02:41 |
whole area here with those lines to
indicate the grass, just create small
| | 02:48 |
islands and the viewer will fill in the
gaps automatically.
| | 02:57 |
That's one of the beauties of drawing.
The viewer knows that this is a drawing
| | 03:04 |
that this is not a photo.
It knows that you are trying to tell him
| | 03:09 |
a story of the place rather than showing
him every little detail of the scene.
| | 03:19 |
And when he sees something that he can
interpret as grass, he will know that the
| | 03:27 |
whole place is covered with grass and
it's okay if you cover a lot of the space
| | 03:34 |
just to keep everything nicely textured
and everything, but the viewer doesn't
| | 03:42 |
need it to understand the scene.
And now here with the trees in the
| | 03:54 |
background, basically what we're going to
do is, we're just presenting the very
| | 04:01 |
rough outline of these trees, and by that
we tell the story that there are trees
| | 04:08 |
back there, but we won't get into the
details.
| | 04:20 |
And that has a, very nice side effect, it
has the side effect that, the viewer,
| | 04:27 |
sees these, indications, he sees, yeah,
it's a park.
| | 04:37 |
There are trees and a park bench and
pavement, yeah, I see, I see, what you,
| | 04:43 |
what you say.
And he fills in all those white spaces,
| | 04:49 |
all those, undefined spots.
He fills these with his own experience.
| | 04:58 |
When he sees this scene, he will remember
when, the last time when he was in a park.
| | 05:09 |
The best thing that can happen is that
your work comes to life in the
| | 05:16 |
imagination of the viewer and you could
never draw it better than the imagination
| | 05:25 |
of the viewer.
You cannot surpass that.
| | 05:34 |
The imagination of the beholder will
always be superior to what you are able
| | 05:38 |
to draw.
Now this concludes our background drawing.
| | 05:45 |
We have defined all the elements, we also
find some nice contrasts of dark and
| | 05:51 |
light in this drawing.
And we are ready to put the character
| | 05:57 |
into the scene now, and that is going to
be our next step.
| | 06:04 |
| | Collapse this transcript |
|
|
4. Drawing the CharacterSketching the character| 00:02 |
We now want to draw our character.
And to prepare for that, we will put all
| | 00:07 |
the elements, all the layers that belong
to the background drawing and that is
| | 00:12 |
this drawing layer, this Sketch Layer,
this Scribble Layer.
| | 00:19 |
We will put these three layers into a
group.
| | 00:25 |
I select the three layers by holding down
the Shift key, and put them into this
| | 00:33 |
Group Layer, and I label this group as
background.
| | 00:42 |
Always keep your files nice and tidy.
I can now decrease the opacity of this
| | 00:51 |
Background layer, so that I can draw the
character on top of it.
| | 01:02 |
And for that I create a new layer, which
again will be a rough sketch of the
| | 01:11 |
character and that's why I label this
layer sketch.
| | 01:21 |
And I'm just going to put some geometric
forms in here.
| | 01:33 |
This is the torso of the character
indicated by two balls connected with a
| | 01:39 |
slightly banded cylinder.
I draw two, spheres for the knees.
| | 01:56 |
And connect them again with cylinders,
with the hip area.
| | 02:07 |
Then I put in some tapered spheres.
And the shoes are also indicated as
| | 02:28 |
simple 3D shapes.
I indicate the shoulders.
| | 02:44 |
Now the character has it's end on the
bench.
| | 03:03 |
And I use the eraser here to be able to
see a little bit better where I have
| | 03:07 |
drawn here.
| | 03:09 |
| | 03:12 |
My character is carrying a school
bagBLANK_AUDIO and the school bag has
| | 03:27 |
to go parallel to the park bench, and to
the perspective lines.
| | 03:45 |
That are still faintly visible in the
background.
| | 03:48 |
And now for the head, I indicate the head
with a, with a sphere again.
| | 03:59 |
Tidy it up a bit with the eraser.
By the way, I'm switching from the brush
| | 04:05 |
to the eraser with the according keyboard
shortcuts.
| | 04:10 |
E for eraser, B for brush.
| | 04:14 |
| | 04:16 |
and now I'm, sketching in the shape of
the hair of the characterBLANK_AUDIO
| | 04:26 |
and that's about it.
Now I've got the feeling, that some of
| | 04:38 |
the proportions of the character are a
bit off.
| | 04:43 |
I haven't done that by intention, but it
happens to occur rather often, that I
| | 04:49 |
concentrate on single parts of a figure.
And by doing that, I sometimes tend to
| | 04:57 |
oversee the overall proportions.
This serves us as a wonderful example to
| | 05:03 |
demonstrate another digital technique
that a lot of traditional artists will be
| | 05:08 |
envious of.
It's the Liquify tool.
| | 05:16 |
It can be found under Filter > Liquify.
Now we have to give it some time, and
| | 05:23 |
here you can see that we have the content
of our layer in the Liquify tool.
| | 05:33 |
We can change the brush size to a rather
big size.
| | 05:37 |
And now I can push around the elements of
the drawing a bit.
| | 05:45 |
And what I wanted to do is shorten the
torso of the character a bit.
| | 05:51 |
So that it doesn't look so long.
It's really a, only a small adjustment.
| | 06:01 |
We could go into here and do more detail
with a lot smaller brush and begin to
| | 06:08 |
tweak, several parts, of the character.
Liquify tool is very versatile for doing
| | 06:19 |
this sort of adjustment.
And we hit OK, and now we have a change resin.
| | 06:27 |
If I now hit Undo several times you can
see what I have changed.
| | 06:34 |
This is the later version, the advanced
version, and I want to keep that.
| | 06:40 |
And the only thing that I'm seeing right
now, is that the character in comparison
| | 06:45 |
to the park bench is a bit too big.
And we fire up the Transform tool with
| | 06:51 |
Ctrl+T again.
And we scale the whole sketch down a bit,
| | 07:00 |
so that the character gets the proper
size in comparison to the park bench.
| | 07:07 |
He's a child after all.
Now this is the sketch for our character.
| | 07:21 |
We will give him some details now.
| | 07:27 |
| | Collapse this transcript |
| Drawing the character| 00:02 |
We are going to detail the character now,
and in order to do that we once again
| | 00:07 |
decrease the opacity of the Sketch layer,
we can also further decrease the opacity
| | 00:12 |
of the background layer so that it
doesn't distract us.
| | 00:20 |
And on a new layer that I directly label
as character, we will draw the details of
| | 00:25 |
our character now.
And for that I'm using the fine drawing
| | 00:31 |
pen cuz we are going to create some fine
detail now.
| | 00:37 |
And here I'm going to use the eraser a
bit.
| | 00:53 |
Eyes are the most important and the most
complicated part of a character.
| | 01:05 |
And now it's about to get the shape of
the face right.
| | 01:19 |
And now it's drawing.
Not much to tell you, if I'm honest.
| | 01:25 |
You see what I'm doing.
It's more or less telling its own story.
| | 01:34 |
It's very convenient that I have
established the basic shapes of the
| | 01:41 |
character in the rough sketch before.
All I have to do now is to go a bit into
| | 01:51 |
the details, and the, the rough sketch is
a wonderful guideline for that.
| | 02:05 |
So that I do not have to worry too much
about landing at the right proportions.
| | 02:11 |
We have seen that in the step before I
took care of the proportions, and now I
| | 02:19 |
do not have to worry.
About them at all.
| | 02:25 |
I only have to worry about the details.
And what works in my favor now is that I
| | 02:34 |
have drawn this character a lot of times.
I know the details of his costume, I know
| | 02:43 |
his character designs, so this is quite
easy for me to do.
| | 02:52 |
What you should expect when your drawings
characters is, that you have to draw a
| | 02:57 |
characters several times, and I mean like
a dozen times before you really get a
| | 03:03 |
feeling for him, and before you really
are able to draw him from imagination properly.
| | 03:13 |
I make this experience always and ever
again and it's, with every new character
| | 03:20 |
it's always the same.
Over and over again.
| | 03:26 |
I have to draw him several times before I
really understand him.
| | 03:32 |
And you just can't get around that.
Now, I'm taking the fat sketch pencil
| | 03:41 |
again, and I want to do some shading.
And the fat Sketch pencil, just the right
| | 03:51 |
tool to do that.
We actually have some shading here that
| | 03:56 |
is provided by our sketch in the
background and at some places we just
| | 04:01 |
have to enhance it a bit.
And what I'm creating here is a drop shadow.
| | 04:24 |
That the character is casting on the park
bench.
| | 04:42 |
And with some very rough sketching and
defining the area of the shadow and I
| | 04:48 |
just realized that I have painted the
shadow floating in space here because
| | 04:54 |
there's no part of the park bench there.
And this I would say concludes our character.
| | 05:07 |
Yeah, yeah, I'd call him done.
This is our character.
| | 05:10 |
We have now drawn the background and the
character.
| | 05:12 |
And basically we have done all the work
on the drawing now but we also want to do
| | 05:22 |
some post processing in the upcoming
part.
| | 05:30 |
| | Collapse this transcript |
|
|
5. Finishing TouchesCleaning up the drawing| 00:02 |
Now, we want to do some proc, processing
on our drawing, and the first thing that
| | 00:07 |
we will do is cleaning up a bit.
And by cleaning up, I mean that we have a
| | 00:13 |
close look at our layers and see what
content of what layer we're going to keep
| | 00:19 |
and where we have to erase a bit.
And our character here consists of two
| | 00:27 |
layers, it's the Character layer and the
Sketch layer.
| | 00:31 |
And as you can see there are some lines
in the Sketch layer like here at the arm
| | 00:37 |
or here at the forehead that are a bit
distracting.
| | 00:43 |
So I'm taking the eraser, and I'm on the
wrong layer.
| | 00:48 |
Now I am on the Sketch layer and I'm
taking out these elements out of the
| | 00:53 |
Sketch layer.
So basically I'm looking for things in
| | 01:00 |
the Sketch layer that are distracting
from the final drawing, for example this
| | 01:09 |
one here, and also this very dark shadows
here on the face.
| | 01:20 |
But I'm careful not to erase too much
from the Sketch layer because if I turn
| | 01:27 |
it on and off you will see that it adds
to the quality of our drawing to have the
| | 01:34 |
Sketch layer on.
And I call this cleaned up, I like it the
| | 01:43 |
way it is, and to clean out my document a
bit I will put the character and the
| | 01:49 |
Sketch layer of the character into a
group layer the same as I did with the background.
| | 02:02 |
And now I will increase the opacity of
the background and we will see that we
| | 02:09 |
can look through our character and we see
the background behind him.
| | 02:20 |
Now that's no good.
We'll have to do something against that,
| | 02:25 |
and that is quite easy to do.
I decreased the opacity again, and I'm
| | 02:32 |
doing that to have a clear look at our
character.
| | 02:38 |
I'm taking the Lasso tool and I'm making
a selection around my character.
| | 02:41 |
Yes, I'm leaving out the shadow, I'm just
selecting the outline of my character.
| | 03:08 |
And by the way, I'm using the Polygon
Lasso here, and by holding down the Alt
| | 03:13 |
key, you can switch from the Polygon
Lasso to the smooths Lasso tool at any time.
| | 03:21 |
Now, I have a selection of my character.
I now select the background group and
| | 03:28 |
give it a mask with this icon down here
you can apply a mask to a layer or to a
| | 03:33 |
layer group.
And what we can see here now is,
| | 03:38 |
everything around my character is black
in the mask, and the character is white.
| | 03:45 |
You can see it if you Alt-click the mask
and we want the exact opposite, we want
| | 03:51 |
the area around the character be white.
And the character itself should be black
| | 04:00 |
to mask it off from the background, and
well, we just can hit CTRL + I and now we
| | 04:06 |
can have a look at our background.
And if we now increase the opacity, the
| | 04:15 |
character is masked off from the
background.
| | 04:20 |
And what we can do now is we can also
have a look into the layers of our
| | 04:26 |
background and see if we can do some
clean up here and there.
| | 04:34 |
And I definitely see some of the frame
lines that run at the side are a bit
| | 04:40 |
distracting and some of the very rough
pavement lines are also a bit distracting.
| | 04:50 |
But I'm careful not to erase everything
of it because it again adds a bit to the
| | 05:02 |
overall drawing.
Also here in the background, I erase all
| | 05:11 |
the scribbley lines and the open spaces
here but I keep the scribbly lines inside
| | 05:18 |
the trees.
It just adds to their texture.
| | 05:25 |
Now, this looks nice doing a little
before and after, you can see that we
| | 05:35 |
still have a lot of this initial scribble
in our drawing.
| | 05:48 |
It helps to make the drawing look not so
clean.
| | 05:52 |
It helps to create the feeling of a
traditional drawing here, where your hand
| | 05:57 |
will smudge a bit over the paper while
you're working and everything gets
| | 06:02 |
dirtied up a bit.
That's rather hard to do on the computer,
| | 06:08 |
there's messiness, there's dirtiness, you
have to do it on purpose.
| | 06:13 |
And by keeping all the states of our
drawing, the scribble, the sketch, and
| | 06:18 |
the drawing itself, we can make up for
this shortcoming of the digital medium a bit.
| | 06:25 |
Now, this is our finished drawing And I
think there's only one addition we can do
| | 06:31 |
to it to give it the last kick
| | 06:36 |
| | Collapse this transcript |
| Coloring the drawing| 00:02 |
Now this is our Digital Drawing and I
want to do a little very subtle coloring
| | 00:08 |
on it to give it the last kick.
I'm doing this coloring on the background
| | 00:15 |
layer directly beneath the drawing.
And the first thing I will do is I pick
| | 00:23 |
up a color to fill the background with.
And it's supposed to be a very light and
| | 00:32 |
esaturated brown in order to indicate
some sketch paper maybe, some brown
| | 00:39 |
sketch paper.
And what I want to do now is, I want to
| | 00:46 |
pick out a pen, a brush, that is not
textured.
| | 00:54 |
I don't need dynamic size adjustment.
I need the opacity driven by pen
| | 01:02 |
pressure, and I need the 30% flow.
I guess I can decrease the, hardness of
| | 01:12 |
the brush a bit.
Yeah, it's a little bit softer on the edges.
| | 01:20 |
And this is now my brush, and for the
sake of completeness, we will save it to
| | 01:26 |
our tool Presets as Color Brush.
All right.
| | 01:32 |
Now, what I want to do with this brush, I
set the mode of the brush to Multiply.
| | 01:40 |
And by that, each stroke I'm going to do
will get darker if it overlaps with a
| | 01:46 |
preceeding one.
So without changing the color I can
| | 01:53 |
darken with every new stroke the
proceeding one.
| | 02:01 |
And this is really handy to do some quick
coloring, and what I want to do is I want
| | 02:06 |
to give certain parts of the drawing a
distinct color.
| | 02:12 |
I want to darken the whole park bench,
for example.
| | 02:18 |
And this step is meant to give some parts
of the drawing a little bit more distinction.
| | 02:32 |
And in this case, it also helps to bring
the character forward because we have a
| | 02:38 |
contrast between the darker park bench,
and the lighter character.
| | 02:46 |
And I also want to use this general idea
throughout the whole drawing.
| | 02:53 |
I darkened the area behind the park
bench, and I'm darkening the trees, but I
| | 03:07 |
want this coloring to be very subtle.
Just like as if you were taking some
| | 03:25 |
watercolor to glaze some paint over your
drawing in your sketchbook maybe.
| | 03:33 |
And it really helps to model the forms a
little bit more, like here, with the tree trunk.
| | 03:48 |
Yeah, it's a lot more form when you give
it some shading like that.
| | 04:06 |
And this can be really quick and dirty.
That doesn't matter too much.
| | 04:16 |
It's just to give a little bit of shading
here and there.
| | 04:21 |
Really doesn't have to be very elaborate.
Here we can indicate the shadow of the
| | 04:33 |
tree, on the ground and we can also, add
some shading, maybe dirt, to the
| | 04:42 |
pavement, like that.
| | 04:49 |
| | 04:57 |
And I will darken the leaves of the trees
also, and I will make them even darker
| | 05:03 |
than the tree trunks.
This, by the way, frames our drawing
| | 05:13 |
quite nicely if the top most part is a
little bit darker.
| | 05:18 |
And now, I do the exact opposite of that.
I change my Mode from Multiply to Screen.
| | 05:36 |
That, basically, lightens everything up.
So when I now paint, and please notice,
| | 05:44 |
I'm still painting with the background
color.
| | 05:47 |
That's the color I filled the whole
canvas with.
| | 05:51 |
And just by using the Screen Mode, it
turns my brush into something that
| | 05:57 |
lightens everything up, and I use this
effect to lighten up some parts where
| | 06:03 |
light might be reflected.
Here, the shoes.
| | 06:14 |
And of course we want to have some
highlights here in the hair.
| | 06:19 |
And that way we create the strongest
contrast between light and dark in the
| | 06:26 |
character that brings the character
forward and makes for a very nice end
| | 06:33 |
result I would say.
And by using the F key I'm toggling the
| | 06:42 |
Screen Mode here so that we have an
un-occluded a view of our final result.
| | 06:53 |
This is our Digital Drawing from scratch,
completely created inside Photoshop.
| | 07:02 |
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