From the course: Deke's Techniques (2018-2021)
793 Carving deep wrinkles or scars into skin
From the course: Deke's Techniques (2018-2021)
793 Carving deep wrinkles or scars into skin
- [Instructor] Alright, so here we are zoomed in to those deeply etched wrinkles. I'm going to go ahead and switch over to our composition in progress, and then what you want to do, if you want to create your own wrinkles, because I have already created them in advance by the way, and we'll be coming back to those in a minute, but if you want to create your own, I very much approve. In which case, press control+shift+N, or command+shift+N on a Mac, in order to create a new layer, and call it, let's call this one Scars, just for the sake of variety. And then, I'll select my brush tool, which you can get by pressing the B key. Now, currently my foreground color is black, that's actually not going to matter, because we're going to be recoloring these wrinkles after we create them. But black is going to work out just fine. Then what you want to do is right-click inside the image window, and assuming that you have a pressure sensitive drawing tablet, then go ahead and twirl open general brushes right here and scroll down the list to this guy, Hard Round Pressure Size, which is going to work out great. And then I'll just go ahead and press the enter key, or the return key on a Mac, in order to accept that change, and I'll press the right bracket key until I increase the size of my brush to 100 pixels. Alright now, you want to paint starting at the lip, it's going to work out the best, right by the nose and then kind of paint inward and out by the cheek so we have this hollow cheek effect. Problem is, even though I'm working with a tablet, apparently I'm doing a terrible job because that is a bad line. You can make it a lot better inside the most recent versions of Photoshop by, in my case, pressing control+Z or command+Z on a Mac, to undo that change, and then going up here to the smoothing value and taking it up to 50%, it's going to work out beautifully. And then I'll go ahead and draw lightly from the lip and then up along the nose and then kind of draw in on the inside of the cheek and out on the outside. That is still so bad, I'm going to try it again. And so I'll draw like this around the cheek and then in so that we have a hollowed crevice right there, and then down next to the nose and into the lip. Alright, now I want to draw another more or less parallel line coming off the nose like so, and then coming down and into the lip, and then basically what happens, you can keep creating these kind of lines like so, and I'm just going to kind of quickly draw them in so I don't make an absolute fool of myself. But up here what you want to do is draw some wrinkles coming off the nose like this, and the better they taper, the better they're going to look, of course. And then we want another one coming kind of down the nose. And then there's this kind of wrinkle around here and then carving up like so, and then we want to emphasize the creases around the eyes, coming down all the way over to the end of the face. And then the design is that we've got this kind of triangular form right here in between, so I'll go ahead and fill that in like so. And then you'd want to carve along the mouth to kind of emphasize the jowl line right there like so, and then you can create a few lines in between that don't connect all the way and so forth. In any event, as I said, I've drawn those in advance, and so I'm going to go ahead and turn the Scars layer off and I'll turn the Wrinkles layer on, and you can see that it is quite elaborate, even though if you like, you can go ahead and add to this layer on your own, however, you want to make sure the layer is selected. And then I could go ahead and brush in a few additional short lines if I like, for example, along the chin here. So, in a lot of ways, the more the merrier, although you do need to leave room for the bevel and emboss effect. Alright, now at this point, we want a little more control over the color of our lines, in fact, I want to fill in with a gradient. And so I'm going to convert what's known as the transparency mask for this layer, which is the actual shape of the lines themselves, to a layer mask by first pressing the control key, or command key on a Mac, and clicking on the thumbnail for this Wrinkles layer, and then I'm going to turn it off, so I just have the selection outline, and then I'll go up to the Layer menu, choose new fill layer, and then choose gradient. And I'll go ahead and call this guy Wrinkles because that's what I want it ultimately to be called, and that's going to bring up the gradient fill dialogue box. Now, I don't want any transparency, so I'm going to switch the base gradient to this guy right here, black to white, which is going to work out just fine, at least to start things off. Now, I want the darker color to be at the top and the lighter color to be at the bottom, and so I'm going to change the angle value to -90 degrees, and then I'll go ahead and click on this gradient bar in order to bring up the gradient editor dialogue box, and I'll double-click on this color stop, which is located under the ramp, in order to bring up the color picker dialogue box, wish these guys would get out of my way, and then I'll go ahead and change this hue value and I'll go ahead and call this guy wrinkles, to 205 degrees, which is a greenish shade of blue. because that's what I want it ultimately to be called and that's going to bring up the gradient fill dialogue box. And you may wonder where I got these colors, and basically I downloaded a bunch of sample images Now I don't want any transparency from the Web from the actual Game of Thrones so I'm going to switch the base gradient so I'm going to switch the base gradient to this guy right here, black to white, to this guy right here, black to white, television show, and I eye dropped the hues. which is going to work out just fine, which is going to work out just fine, at least to start things off. Alright, now I'll tab down to the saturation value, at least to start things off. Now, I want the darker color to be at the top Now, I want the darker color to be at the top 100% is just fine, and then I'll set the brightness value and the lighter color to be at the bottom and the lighter color to be at the bottom and so I'm going to change the angle value to 15 degrees, which is pretty dark and so I'm going to change the angle value to negative 90 degrees but you can see that we have a highly saturated, to negative 90 degrees and then I'll go ahead and click on this gradient bar and then I'll go ahead and click on this gradient bar very dark blue, at which point I'll click OK. in order to bring up the gradient editor dialogue box in order to bring up the gradient editor dialogue box And then I'll double-click on this last color stop and I'll double click on this color stop, and I'll double click on this color stop, right here and I'll change the hue value this time which is located under the ramp which is located under the ramp in order to bring up the color picker dialogue box in order to bring up the color picker dialogue box to 200 degrees, slightly greener than the previous shade, wish these guys would get out of my way, wish these guys would get out of my way, and then I'll go ahead and change this hue value then I'll set the saturation value to 50%, and then I'll go ahead and change this hue value to 205 degrees which is a greenish shade of blue to 205 degrees which is a greenish shade of blue and I'll set the brightness value to 50% as well, and I'll click OK, then I'll click OK and you may wonder where I got these colors and you may wonder where I got these colors and basically I downloaded a bunch and basically I downloaded a bunch of sample images from the web of sample images from the web from the actual Game of Thrones television show from the actual Game of Thrones television show And I'll go ahead and change the blend mode from normal and I eye dropped the hues. and I eye dropped the hues. Alright, now I'll tab down to the saturation value, Alright, now I'll tab down to the saturation value, 100% is just fine and then I'll send the brightness value 100% is just fine and then I'll send the brightness value Alright, now we want to add a bevel and emboss effect, so I'll drop down to the FX icon, to 15 degrees, which is pretty dark, to 15 degrees, which is pretty dark, down here at the bottom of the panel, but you can see that we have a highly saturated but you can see that we have a highly saturated and I'll choose bevel and emboss, very dark blue, and unfortunately it's remembering my previous settings, very dark blue, at which point I'll click okay, at which point I'll click okay, that's no fair so I'm going to go ahead and click on and then I'll double click and then I'll double click the reset to default button right here on this last color stop right here on this last color stop right here and we'll change the hue value this time and we'll change the hue value this time so that I load the default settings, to 200 degrees, slightly greener to 200 degrees, slightly greener and then I'll change the style up here at the top than the previous shade, than the previous shade, to out bevel because we want the highlight then I'll set the saturation value to 50% then I'll set the saturation value to 50% and shadow lines to be outside of the wrinkles. and I'll set the brightness value to 50% as well and I'll set the brightness value to 50% as well A technique of smooth is just fine, depth of 100% works. and I'll click okay and then I'll click okay and I'll click okay and then I'll click okay a couple more times to escape all the way out here I'm going to take the size value up to 20 pixels, a couple more times to escape all the way out here and I decided to move the direction to down. and I'll go ahead and change the blend mode from normal and I'll go ahead and change the blend mode from normal to multiply, which is going to burn in those colors. Now I'll go ahead and take this angle value to multiply, which is going to burn in those colors. up to 50 degrees, and I'll set Alright, now we want to add a bevel and emboss effect, Alright, now we want to add a bevel and emboss effect, so I'll drop down to the effects icon, And by the way, the altitude is the angle so I'll drop down to the effects icon, down here at the bottom of the panel, down here at the bottom of the panel, of the light source in this guy, and I'll choose bevel and emboss and I'll choose bevel and emboss so over the outlines, in other words. and unfortunately it's remembering my previous settings, and unfortunately it's remembering my previous settings, Alright, now I'll dial in a couple of colors here. that's no fair, so I'm going to go ahead that's no fair, so I'm going to go ahead and click on the reset to default button right here and click on the reset to default button right here and I'll set the hue value to 205 degrees once again, so that I load the default settings so that I load the default settings this time I'll go with a saturation value of 20 degrees and then I'll change the style up here at the top and then I'll change the style up here at the top and a brightness of 100%, and I'll go ahead and click OK. to outer bevel, because we want the highlight to outer bevel, because we want the highlight and shadow lines to be outside of the wrinkles, and shadow lines to be outside of the wrinkles, And what's going to work best I found, is an opacity value of 100%, which seems a technique of smooth is just fine, a technique of smooth is just fine, depth of 100% works. depth of 100% works. pretty over the top at this point, I'm going to take the size value up to 20 pixels I'm going to take the size value up to 20 pixels but you'll see there's a method to my madness. and I decided to move the direction to down. and I decided to move the direction to down. And now I'm going to change the highlight from screen, which is the default, to overlay, which will help Now, go ahead and take this angle value up to 50 degrees Now, go ahead and take this angle value up to 50 degrees soften the effect and make it look a little more natural. and I'll set the altitude value to 40 degrees and I'll set the altitude value to 40 degrees At this point it looks awfully colorful as well, and by the way the altitude is the angle and by the way the altitude is the angle and we'll take care of that in a moment. And then I'll click on the shadow mode color, of the light source in this guy. of the light source in this guy. So over the outlines in other words. So over the outlines in other words. which is black by default, and I'll change its hue Alright, now I'll dial in a couple of colors here. Alright, now I'll dial in a couple of colors here. to 200 degrees, and I'll set its saturation to 100%, I'll go ahead and click on a highlight color I'll go ahead and click on a highlight color and I'll set the hue value to 205 degrees once again, and I'll set the hue value to 205 degrees once again, and then I'll set the brightness to 20%, at which point this time I'll go with a saturation value of 20 degrees this time I'll go with a saturation value of 20 degrees we get a very dark shade of blue, and now I'll click OK. and a brightness of 100% and a brightness of 100% and I'll go ahead and click okay And just to burn things in even more than multiply, and I'll go ahead and click okay and what's going to work best I found and what's going to work best I found I'll go ahead and switch the blend mode is an opacity value of 100%, which seems pretty over the top is an opacity value of 100%, which seems pretty over the top The opacity value, 50% is just fine, at this point, put you'll see there's a method to my madness at this point, put you'll see there's a method to my madness but notice that we're not really seeing and now I'm going to change the highlight from screen and now I'm going to change the highlight from screen the bevel and emboss effect all that well at this point, which is the default to overlay, which is the default to overlay, and so what you need to do is go up to the blending options, which will help soften the effect which will help soften the effect and make it look a little more natural. and make it look a little more natural. notice that we have a fill opacity value, At this point it looks awfully colorful as well At this point it looks awfully colorful as well and if you take that value down, and we'll take care of that in a moment and we'll take care of that in a moment you're going to leave the bevel and emboss effect and then I'll click on the shadow mode color, and then I'll click on the shadow mode color, as opaque as it already was, which is black by default which is black by default but you're going to reduce the opacity of the lines themselves. and I'll change its hue to 200 degrees and I'll change its hue to 200 degrees Now it's tempting to take this value all the way down to 0%, and I'll set its saturation to 100% and I'll set its saturation to 100% and then I'll set the brightness to 20% and then I'll set the brightness to 20% and you may like that effect better, but I decided I wanted to see those wrinkle lines at which point we get a very dark shade of blue at which point we get a very dark shade of blue as potential shadows, so I went with 50% here. and now I'll click okay and now I'll click okay and just to burn things in, even more than multiply, and just to burn things in, even more than multiply, And then, in order to reduce the opacity I'll go ahead and switch the blend mode I'll go ahead and switch the blend mode to the darkest mode there is, of the entire effect, including not only the lines to the darkest mode there is, which is linear burn. which is linear burn. An opacity value of 50% is just fine, An opacity value of 50% is just fine, I went ahead and took the opacity value down to 50% like so, but notice that we're not really seeing but notice that we're not really seeing the bevel and emboss effect all that well at this point the bevel and emboss effect all that well at this point at which point I'll go ahead and so what you need to do is go up and so what you need to do is go up and click OK in order to accept that effect. to the blending options, to the blending options, notice that we have a fill opacity value notice that we have a fill opacity value Now at this point I don't need that original Wrinkles layer and if you take that value down, and if you take that value down, anymore, so I'm just going to go ahead and select it, you're going to leave the bevel and emboss effect you're going to leave the bevel and emboss effect press the backspace key to get rid of it, as opaque as it already was, as opaque as it already was, and I'll press shift+F in order to switch but you're going to reduce the opacity of the lines themselves. but you're going to reduce the opacity of the lines themselves. to the fullscreen mode, and then I'll go ahead and zoom on in as well so that we can see Now it's tempting to take this value all the way down Now it's tempting to take this value all the way down to zero percent and you may like that effect better, to zero percent and you may like that effect better, what ultimately appear as deeply carved wrinkle lines. but I decided I wanted to see those wrinkle lines but I decided I wanted to see those wrinkle lines as potential shadows, as potential shadows, so I went with 50% here so I went with 50% here and then in order to reduce the opacity and then in order to reduce the opacity of the entire effect, including not only the lines, of the entire effect, including not only the lines, but the bevel and emboss effect as well, but the bevel and emboss effect as well, I went ahead and took the opacity value I went ahead and took the opacity value down to 50% like so, at which point I'll go ahead down to 50% like so, at which point I'll go ahead and click okay, in order to accept that effect. and click okay, in order to accept that effect. Now at this point I don't need Now at this point I don't need that original wrinkles layer anymore that original wrinkles layer anymore so I'm just going to go ahead and select it, so I'm just going to go ahead and select it, press the backspace key to get rid of it press the backspace key to get rid of it and I'll press shift f in order to switch and I'll press shift f in order to switch to the full screen mode to the full screen mode and then I'll go ahead and zoom on in as well and then I'll go ahead and zoom on in as well so that we can see what ultimately appear so that we can see what ultimately appear as deeply carved wrinkle lines. as deeply carved wrinkle lines. If you're a member of LinkedIn Learning, If you're a member of LinkedIn Learning, I have two, count them, two follow up movies, I have two, count them, two follow up movies, in which we take our white walker so far in which we take our white walker so far and we're going to shade his deep set brows and we're going to shade his deep set brows and then we're going to make his lips more pale and then we're going to make his lips more pale and lifeless, so the creature looks even more and lifeless, so the creature looks even more wraith like and creepy. wraith like and creepy. If you're looking forward to next week, If you're looking forward to next week, we're going to give our white walker we're going to give our white walker these glowing blue eyes. these glowing blue eyes. Deke's techniques, each and every week, Deke's techniques, each and every week, keep watching. keep watching.
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- 963_camera_profile.zip
- 964_JPEG_raw.zip
- 965_match_detail.zip
- 966_Ps_line_tool.zip
- 967_troubleshoot_line.zip
- 968_blend_vectors.zip
- 969_curve_line.zip
- 970_point_glyphs.zip
- 971_area_glyphs.zip
- 972_snap_glyphs.zip
- 973_snap_letterform.zip
- 974_glyph_shape.zip
- 975_glyph_pen.zip
- 976_playing_cards.zip
- 977_scale_shape.zip
- 978_card_suits.zip
- 979_enhance_path.zip
- 980_power_symbol.zip
- 981_huge_artboard.zip
- 982_new_artboard.zip
- 983_triceratops.zip
- 984_pen_tricks.zip
- 985_round_corner.zip
- 986_draw_round.zip
- 987_reshape_round.zip
- 988_AI_brushed.zip
- 989_AI_rivets.zip
- 990_blend_grad.zip
- 991_binoculars.zip
- 992_blue_halo.zip
- 993_bi_aberrations.zip
- 994_hide_shapes.zip
- 995_subwoofer.zip
- 996_deep_cone.zip
- 997_gradient_frame.zip
- 998_hex_screws.zip
- 999_thats_all.zip
Contents
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767 Mandala patterns in Photoshop CC 20191m
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768 Painting a free-form mandala pattern9m 5s
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769 Painting mandala-style dot patterns6m 56s
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770 Coloring your mandala pattern7m 48s
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771 The final full-color mandala6m 27s
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772 Illustrator CC 2019 new preview mode1m 1s
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773 Illustrator CC 2019 presentation mode3m 21s
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774 Global edit in Illustrator CC 20196m 30s
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775 Applying a global edit from the control panel4m 8s
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776 Freeform gradients in Illustrator CC 20198m 29s
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777 Freeform gradients: Points versus lines8m 10s
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778 Freeform gradient limitations6m 29s
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779 Crop and develop a great white shark8m 54s
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780 Sharpening your great white shark6m 11s
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781 Low vibrance and high saturation9m 3s
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782 Vibrance, saturation, and sharpness9m 11s
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783 Actioning a full-color hedcut in Photoshop1m
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784 Recording an action to play all actions9m 37s
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785 Draw something, color the outlines8m 46s
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786 Combining multiple works of line art7m 3s
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787 Group your line art, clip to the group4m 9s
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788 Coloring outside your line art in Photoshop6m 32s
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789 Flip horizontal view in Photoshop CC 20191m
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790 Creating a White Walker in Photoshop1m 59s
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791 The White Walker begins9m 25s
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792 Giving a guy a digital shave in Photoshop3m 58s
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793 Carving deep wrinkles or scars into skin8m 37s
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794 Shading the White Walker’s deep-set brows6m 21s
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795 Creating pale, lifeless lips in Photoshop5m 57s
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796 Giving your White Walker glowing blue eyes10m 46s
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797 Adding some creepy lifeless pupils6m 40s
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798 Adding a cold and gloomy background12m 18s
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799 Adding cold and brittle snowflakes6m 25s
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800 Using the Transparency Shapes Layer option5m 29s
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801 Combining a radial filter with a range mask8m 35s
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802 Flipping a photograph in Camera Raw6m 20s
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803 An actual dream effect, in Photoshop14m 37s
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804 Augmenting your Photoshop dream8m 45s
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805 Applying distortions as Smart Filters6m 37s
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806 Combining distortions with blend modes10m 5s
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807 Drawing a 24-sided star in negative space12m 48s
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808 Making your star a repeating hex pattern8m 27s
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809 Shading your star pattern in Illustrator6m 57s
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810 Creating a gradient pattern in Illustrator4m 31s
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811 Making one pattern fade into another6m 23s
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812 Welcome to my seamlessly repeating summer1m 35s
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813 Drawing a cubical gobstopper in Illustrator14m 55s
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814 Creating a pattern of gobstoppers7m 23s
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815 Aligning your many gobstoppers5m 54s
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816 Blending line textures in Illustrator12m 58s
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817 Combining object blends with a pattern8m 40s
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818 Carving cubical holes into cubical objects9m 52s
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819 Nesting gradients inside a pattern5m 36s
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820 Drawing 3D isometric arrows in Illustrator7m 33s
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821 Positioning the tips of your arrows7m 17s
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822 Filling in the gaps in a repeating pattern8m 50s
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823 Drawing cartoon teeth aligned to the hair5m 50s
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824 Drawing a triangular cartoon eye8m 6s
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825 Adding windows to the houses pattern10m 46s
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826 Creating a perfectly tessellating pattern4m 32s
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827 Op art experiment 4: Triangle tunnels6m 58s
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828 Expressing your triangles as a hex pattern7m 18s
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829 Adding color to your triangle tunnels7m 55s
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830 Recoloring your triangle tunnels3m 20s
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831 Creating rainbow gradients with blends6m 18s
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832 The downside of using blends in patterns3m 35s
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833 Drawing an impossible trident in Illustrator9m 49s
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834 Shading an impossible trident with gradients4m 3s
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835 Painting paths with opposing gradients13m 51s
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836 Adding impossible shadows in Illustrator6m 42s
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837 Drawing an impossible hex object14m 8s
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838 Creating impossible latticework5m 46s
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839 Painting like Joan Miró in Adobe Sketch9m 46s
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840 Painting a watercolor wash background8m 23s
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841 Signing your artwork like Joan Miró4m 17s
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842 Opening your Sketch artwork in Photoshop9m 1s
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843 Enlarging your Miró to poster size11m 5s
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844 What if Joan Miró had met Jordan Peele?14m 10s
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845 Coloring your terrifying Miró/“Us” scene11m 47s
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846 Painting a Rorschach background9m 22s
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848 What to do when Content-Aware Fill fails?10m 4s
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847 Finishing your “Us” artwork in Photoshop10m 35s
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849 Hand turkey 20191m 56s
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850 Tracing your actual hand on an iPad10m 6s
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851 Drawing a highly articulated hand9m 50s
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852 Adding color to your hand-drawn hand12m 33s
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853 Painting your hand-drawn fingernails9m 3s
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854 A hand becomes a Thanksgiving hand turkey9m 6s
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855 Painting the turkey’s tail feathers13m 30s
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856 What’s wrong with this drop shadow?11m 14s
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857 Introducing Photoshop for the iPad13m 6s
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858 Photoshop for the iPad: Part 29m 13s
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859 Photoshop for the iPad: Part 310m 17s
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