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Shading a piece of graphic art

From: Photoshop CS5 One-on-One: Mastery

Video: Shading a piece of graphic art

In this exercise we're going to use the Mixer Brush in order to shade an actual piece of artwork. And that actual piece of art, such as it is, is this guy right here, it's called Robot in color.psd. And notice right at the top of the stack is that enhanced piece of robot art, which is now called the line art layer. What I want to do however, because we've got so many Fill layers going on. I want to give you a sense of how this layered piece of artwork is built up because you will need to know that in order to shape things along with me. So I am going to Alt+Click the eyeball associated with the lowest layer in the stack, that's the Texture layer of course, that would be Option+Clicking on the eyeball on the Mac.

Shading a piece of graphic art

In this exercise we're going to use the Mixer Brush in order to shade an actual piece of artwork. And that actual piece of art, such as it is, is this guy right here, it's called Robot in color.psd. And notice right at the top of the stack is that enhanced piece of robot art, which is now called the line art layer. What I want to do however, because we've got so many Fill layers going on. I want to give you a sense of how this layered piece of artwork is built up because you will need to know that in order to shape things along with me. So I am going to Alt+Click the eyeball associated with the lowest layer in the stack, that's the Texture layer of course, that would be Option+Clicking on the eyeball on the Mac.

And then I'll turn on this Adjustment layer that lightens up the texture as well. Now in front of that we've got a group that's called Backdrop and it contains several different items, all of which are masked inside of the background. So the robot is masked out of the picture and I'll go ahead and turn on that group. And you can see there's a fair amount of layers going on here that are interacting with each other to create this a apocalyptic fire effect. Then we've got the Fill layers. So first there is no - and by the way I just painted these layers, I just went ahead and created new layers, set each one of them to the Multiply Blend mode incidentally, all but one that is, and then just painted inside the line.

So it's actually looking at the Line art at the same time, so if you want to see the Line art and how the Fill layers fit inside of it then you can turn that Line art layer on. And that's what I did so this is how I was baiting. I created layers behind line art, set them to Multiply and paint inside of them in order to fill in those lines. Anyway I am going to turn line art off for a second so that we can check out the other guys. There's the hands right there and I sort of cheated a little bit on the hands by the way because they are actually flipped versions of each other. The arms are going in slightly different directions, but the hands themselves, I only drew once and then flipped.

Then we've got the collar right there and we've got the head, that's where we are going to do most of shading incidentally. We've got the mouth which is just the tongue and a little bit of gum there, we've got the eyes, very important, the irises, and then that bandage on his head. We won't be doing anything with it but there it is. And then finally white stuff, if I click on white stuff notice it is not set to the Multiply mode because of course then the white we drop out. This layers is just set to Normal and then I've got the line art layer sitting on top of the whole deal. Now one thing you'll notice if you look carefully here is because the line art layer was painted originally in a dark red and then set to Multiply, why, we're are ending up with some darker blends of colors.

Notice If I go ahead and zoom in here on the side of the robot's face that this area is darker where the gray of the head layer and the red of the line art layer interact we have this weird sort of darkish edge. Well the easiest way to handle that is the way it's handled in the comics, which is all the line art is rendered in black. So let's go ahead and do that. Make sure the line art layer is active and press the D key in order to make sure the foreground color is black and then press Shift+Alt+Backspace or Shift+Option+Delete on the Mac and of course Alt+Backspace or Option+Delete goes ahead and fills layer with the foreground color, Black.

The Shift key ensures that we are respecting the layer's transparency. All right I am going go ahead and zoom out here a little bit and then zoom back in. And let's start things off on the head layer, so go ahead and click on the head in order to make it active. And then what I want you to do just so that we were all on the same page. Regardless of what tool is selected here on the toolbox I want you to go up to the tool icon in the Options bar, right- click on it and choose Reset All tools because I just want to wipe the slate clean. Now that's not going to get rid of any of your brushes or presets or any of that jazz, it's just going restore the tools to their default behaviors.

So go ahead and choose that command, you'll get an alert message asking if you really want to do this, click OK and now I want you to go ahead and select the Mixer Brush which you may have to get by choosing the tool from the flyout menu. And I am going to increase the size of my brush by pressing the Right Bracket key a few times. Notice that this is a soft brush this time around instead of a hard brush, so we'll end up getting smoother results. And my foreground color is black, so that's actually perfect. Now I want to setup my Options so that the Paint is very wet, so that I can paint into it very easily and we are getting a lot of mixing, a lot of interaction between the foreground color and the colors that are already there.

So for now I'm just going to go ahead and choose Very Wet and see what happens, the Very Wet preset, that is, which sets the Wet value to 100%, Load is 50%, Mix is also set to 50% so we'll see how that works. Now I'll go ahead and press the Escape key so that option up there in Options bar is no longer active here in the PC. And then I'll just go ahead and paint down in this region, and notice as I paint I'm making a big huge mess of everything. I am basically spreading out the colors inside of this layer and I really don't want to do that. Now that's not a function of Sample All layers, this time we were just working from the Color of one layer at a time.

However we do need to lock down the layers Transparency. So press Ctrl+Z if you had done along with me, or Cmd+Z on the Mac to Undo that modification. With the head layer active you can either click on this little icon, this Transparency icon right next to the word Lock at the top of Layers panel, or you press its keyboard shortcut which is the Slash key, so if you press the Slash key, you lock down the transparency like so, that's the forward slash that shares the key along with the question mark. Now notice if I paint inside of this area that my strokes are confined to the original Opacity.

The original definition of Opacity on this layer, the so-called Transparency Mask, for what that's worth. All right so I am going to paint in some darkness in these regions right there and you may look at what I'm doing and you might think, Well, this is tentatively interesting, but couldn't you do something really similar to that using the Burn tool, why do you need to Mixer Brush for this? Well, you might also wonder, if I press the X key in order to switch the foreground color to white, and then I paint the front of his face like so in order to add some terrified brightness right there, you may also wonder, Well couldn't you have done something very similar to that with the Dodge tool? The answer to both questions is, yeah, probably. Could've gotten a similar effect to this, I'm not sure we'd get exactly this effect but this is pretty easy to pull off, this is a pretty great way to work when you're creating this kind of hand-drawn graphical artwork, but not only that, we can do more then just darken or lighten using black or white.

We can also integrate all kinds of colors like for example, we ought to have some reflectivity from the fire on the robot's highly reflective metallic face and that's something that we'll add using the Mixer Brush in the next exercise.

Show transcript

This video is part of

Image for Photoshop CS5 One-on-One: Mastery
Photoshop CS5 One-on-One: Mastery

192 video lessons · 43725 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 40m 45s
    1. Welcome
      2m 45s
    2. Making Photoshop your default image editor
      7m 43s
    3. Installing the dekeKeys keyboard shortcuts
      8m 10s
    4. Remapping OS shortcuts
      7m 37s
    5. Installing the Best Workflow color settings
      4m 31s
    6. The color settings explained
      6m 54s
    7. Loading the CS5 color settings in Bridge
      3m 5s
  2. 1h 11m
    1. Your creative range continues to expand
      1m 46s
    2. The Avatar project so far
      2m 38s
    3. Painting on a photograph
      7m 50s
    4. Adding texture and depth
      6m 14s
    5. Simulating chalky white paint
      7m 23s
    6. Masking and placing an image
      7m 20s
    7. Upsampling and Lens Blur
      5m 9s
    8. Blending blurry elements
      3m 48s
    9. Making a Smart Object
      6m 46s
    10. Placing an image as a Smart Object
      3m 22s
    11. Blending away a background
      5m 56s
    12. Applying Smart Filters
      4m 34s
    13. Creating a glow with Lens Flare
      3m 45s
    14. Blending and masking a glow
      5m 3s
  3. 1h 26m
    1. Using the image to select itself
      1m 53s
    2. Introducing masking
      6m 32s
    3. Making an alpha channel
      6m 54s
    4. Using the Calculations command
      6m 48s
    5. Add, Subtract, Offset, and Scale
      5m 54s
    6. Prepping an image with the Dodge tool
      6m 55s
    7. Fixing mistakes before they get too big
      6m 32s
    8. Painting in the Overlay mode
      5m 51s
    9. Exaggerating and selecting flesh tones
      7m 39s
    10. Smudge, Median, and the Blur tool
      6m 59s
    11. Masking low-contrast details
      6m 7s
    12. Creating a flesh-and-clothing mask
      5m 45s
    13. Masking and compositing the foreground
      5m 27s
    14. Finessing the final composition
      7m 39s
  4. 2h 24m
    1. Connecting the dots
      1m 40s
    2. The Pen tool and the Paths panel
      6m 32s
    3. Drawing a straight-sided outline
      6m 25s
    4. Editing a path outline
      6m 36s
    5. Adding and editing smooth points
      5m 35s
    6. Creating vector masks with the shape tools
      4m 59s
    7. Building a complex outline from shapes
      4m 26s
    8. Subtracting and transforming shapes
      6m 45s
    9. Cloning, flipping, and combining shapes
      8m 58s
    10. Roughing in non-symmetrical paths
      7m 41s
    11. Finessing a complex outline
      9m 15s
    12. Masking a layer effect
      8m 26s
    13. Isolating an image element
      6m 8s
    14. Smooth points and control handles
      9m 3s
    15. Stretching curved segments
      7m 49s
    16. Using the Rubber Band option
      9m 33s
    17. Drawing smooth points with the Pen tool
      6m 59s
    18. Shading an isolated object
      3m 45s
    19. Drawing cusp points
      7m 14s
    20. Setting points in the pasteboard
      9m 57s
    21. Using the Convert Point tool
      6m 42s
  5. 2h 57m
    1. Everything you need to know about blending
      1m 45s
    2. Photoshop CS5's blend modes
      7m 21s
    3. Cycling between blend modes
      6m 15s
    4. Darken and Lighten and their derivatives
      6m 3s
    5. The blend mode shortcuts
      8m 6s
    6. The Multiply and Burn modes
      4m 28s
    7. The Screen and Dodge modes
      6m 0s
    8. How opposite blend modes work
      8m 24s
    9. Why Multiply darkens and Divide lightens
      5m 23s
    10. Cleaning up a client's bad art
      5m 3s
    11. Dropping out a white background
      5m 56s
    12. Blending inside blend modes
      8m 3s
    13. Overlay, Soft Light, and Hard Light
      6m 26s
    14. Vivid, Linear, and Pin Light (and Hard Mix)
      6m 35s
    15. Difference, Exclusion, Subtract, and Divide
      7m 34s
    16. Great uses for the Difference mode
      6m 18s
    17. Promising uses for the Divide mode
      9m 6s
    18. Hue, Saturation, Color, and Luminosity
      7m 0s
    19. Blending an inverted layer
      3m 32s
    20. The "Fill Opacity Eight"
      7m 25s
    21. Making bad blend modes good
      5m 16s
    22. Making a knockout layer
      6m 53s
    23. Blending in the CMYK mode
      8m 3s
    24. Overprinting black text
      8m 29s
    25. Using the Luminance slider
      5m 24s
    26. Parametric luminance masking
      6m 21s
    27. Adjusting the behavior of luminance effects
      10m 8s
  6. 2h 2m
    1. Smart Objects = protective containers
      1m 35s
    2. Placing an Illustrator graphic
      6m 30s
    3. Vector copy and paste options
      6m 56s
    4. Applying Puppet Warp to vectors
      8m 9s
    5. "Gluing" vector art for Puppet Warp
      5m 50s
    6. Warping art onto the surface of an image
      8m 7s
    7. Blending a Smart Object
      4m 30s
    8. Blurring and blending a Smart Object
      6m 8s
    9. Making changes in Illustrator
      5m 57s
    10. Creating "true clones"
      7m 18s
    11. Double-flipping text
      4m 44s
    12. Applying effects to multiple layers
      3m 24s
    13. Updating true clones in one operation
      7m 36s
    14. Editing JPEGs as Camera Raw objects
      5m 49s
    15. Creating a double-exposure effect
      7m 15s
    16. Masking and shading transitions
      7m 47s
    17. Applying and repeating Camera Raw edits
      6m 9s
    18. Copying vs. cloning a Smart Object
      5m 18s
    19. Flipping a Smart Object and its mask
      3m 42s
    20. Adjusting multiple Camera Raw clones
      3m 53s
    21. Text that inverts everything behind it
      5m 34s
  7. 1h 59m
    1. This time, "smart" means dynamic
      1m 37s
    2. Introducing Smart Filters
      6m 28s
    3. Traditional High Pass sharpening
      5m 17s
    4. Smart High Pass in the Lab mode
      7m 57s
    5. Sharpening a high-frequency image
      7m 46s
    6. Retroactively reducing noise
      7m 31s
    7. Which filters are Smart Filters?
      6m 20s
    8. Shadows/Highlights as a Smart Filter
      4m 37s
    9. Nesting one Smart Object inside another
      7m 11s
    10. Drawing a mask from a nested Smart Object
      8m 7s
    11. Better Shadows/Highlights inside Lab
      9m 16s
    12. Tempering saturation values in Lab
      7m 0s
    13. Filtering live, editable text
      9m 2s
    14. Enhancing filters with layer effects
      4m 33s
    15. Applying a filter multiple times
      5m 0s
    16. Creating a synthetic star field
      7m 7s
    17. Making a stucco or drywall pattern
      6m 28s
    18. Land, sea, and clouds
      8m 30s
  8. 2h 50m
    1. Photoshop's advanced painting tools
      2m 3s
    2. Canvas texture and brush libraries
      6m 40s
    3. Painting with a predefined custom brush
      9m 21s
    4. Dissecting a custom brush
      11m 9s
    5. Designing and using a custom brush
      4m 54s
    6. Saving and loading brush presets
      5m 27s
    7. The ten styles of bristle brushes
      9m 47s
    8. Size, Spacing, and Angle
      7m 2s
    9. Using the Bristle Brush preview
      7m 53s
    10. Bristles, Length, Thickness, and Stiffness
      6m 53s
    11. Stylus tilt and mouse behavior
      5m 25s
    12. Stroking a path outline with a brush
      4m 0s
    13. Troubleshooting a stylus
      5m 49s
    14. Introducing the Mixer Brush
      7m 22s
    15. The Load, Mix, and Wet values
      5m 1s
    16. Cleaning and loading a brush
      6m 26s
    17. Shading a piece of graphic art
      6m 34s
    18. Shading with color
      7m 53s
    19. Mixing a photographic portrait
      6m 11s
    20. Tracing the fine details in an image
      5m 52s
    21. Crosshatching and brush size
      5m 53s
    22. Covering up and augmenting details
      7m 36s
    23. Painting in hair and fabric
      5m 54s
    24. Painting and scaling very fine hairs
      8m 7s
    25. Adding texture with the Emboss filter
      8m 31s
    26. Exploiting a "happy accident"
      2m 46s
  9. 1h 40m
    1. Artificial intelligence that works
      1m 22s
    2. The Auto-Align Layers command
      7m 25s
    3. The Auto-Blend Layers command
      3m 54s
    4. Masking auto-aligned layers
      4m 50s
    5. The Geometric Distortion setting
      6m 44s
    6. The Seamless Tones and Colors checkbox
      4m 8s
    7. Creating the best possible layer mask
      9m 18s
    8. Auto-blending depths of field
      5m 54s
    9. Finessing masks, accepting imperfections
      6m 29s
    10. Shooting and downsampling panorama images
      5m 54s
    11. Introducing the Photomerge command
      6m 40s
    12. Evaluating the Layout settings
      6m 47s
    13. Loading, aligning, and blending with Photomerge
      5m 36s
    14. Tracing and extracting seams
      7m 18s
    15. Adding a masked element into a panorama
      5m 55s
    16. Simplifying and correcting a panorama
      5m 58s
    17. Smart Filters and nondestructive cropping
      6m 43s
  10. 1h 18m
    1. The most mysterious of mysterious topics
      2m 29s
    2. Introducing HDR Toning
      6m 43s
    3. Reigning in clipped highlights
      5m 54s
    4. The Local Adaptation options
      9m 5s
    5. Nondestructive editing with HDR Toning
      8m 22s
    6. Using the HDR Toning Curve
      7m 2s
    7. HDR Toning vs. Shadows/Highlights
      6m 0s
    8. Merging multiple exposures
      7m 14s
    9. A first look at HDR Pro
      6m 24s
    10. Removing ghosts, correcting backlighting
      7m 11s
    11. Generating and editing an HDR comp
      7m 0s
    12. HDR rendered to completion
      5m 19s
  11. 1h 27m
    1. Processing hundreds of files in no time
      1m 43s
    2. Creating an action set
      6m 37s
    3. Making an action
      7m 7s
    4. Stop, Delete, and Record
      7m 12s
    5. Add, Undo, and Rerecord
      6m 40s
    6. Playing and testing an action
      6m 31s
    7. Playing and editing a specific operation
      6m 39s
    8. Permitting the user to change settings
      4m 58s
    9. Explaining an action with a custom stop
      5m 0s
    10. Batch-processing multiple images
      7m 22s
    11. Adding a Save As operation
      6m 34s
    12. Creating an action to save web graphics
      7m 59s
    13. Batching two actions into one
      7m 15s
    14. Saving and loading actions
      5m 30s
  12. 1m 19s
    1. See ya
      1m 19s

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