As with most aspects of photoshop, edge control is key. Knowing how to modify colors is great, but only if you can control where you're applying the change. After all, it's rare that you'll want to modify your entire image at once. More likely you'll only want to effect a small region of the image. Masks are one option, but this video focuses on the rarely discussed "Blend If"
This installment of the color correction mini-series deals with the 'curves' adjustment layer. For controlling color and image contrast, nothing compares to this tool - but beginners are often intimidated by it's controls. In truth, I personally avoided it for years. But not anymore, and you shouldn't either. Let's dive in!
Today we'll continue to explore the benefits of Adjustment layers for tweaking the colors in your painitngs. This video is all about the 'gradient map'. If you've never used it before, today is a great day to start.
The Bundle Includes
Portfolio Builders - When it comes to concept art, planning and brainstorming are just as important as drawing and painting. Instead of focusing on painting technique, these series ask the question "Where do ideas come from?"
Each poses a design challenge for you (and me) to follow. The videos document my progress, and show painting demos. But the focus is you. What will you draw? How might you approach the challenge differently than me?
I might not be able to personally mentor you, but these series are the next best thing.
Design Basics 1 & 2 - The bundle opens with two series dedicated to Design. The first, Design Basics, explores the hidden language of images. Color, material, shape, and proportion are tools to tell your story. Are you using them to the fullest? To cover the most ground possible, Design Basics is mostly lecture and doesn't highlight Photoshop demonstrations.
Design Basics 2 continues this exploration of shape language, but takes a more hands-on approach. Here, shape is broken down into 7 principles - which we practice with drills and exercises.
In Photoshop color correction is just as important as using the brush and eraser tools. My favorite way to modify colors is the use of 'adjustment layers', and this video gives a short demonstration.
In the video I make reference to 'Selection Layers', which is a personal term I coined -- to learn more make sure to watch these other videos:
This video completes the slate study by adding texture and polish. Though there are many approaches to adding texture in digital painting, this time we won't be using any photos. Instead, the surface texture is created with a modified custom brush.
Additionally, the rock's sharp edges are softened a bit by modifying the group's mask. Both of these techniques are uniquely digital, so make sure to watch the videos linked at the right if you're unfamiliar with the tools.
As we continue with this rock study, the goal is to add detail. To polish. Starting with the basic block-in from the last video, it's all a matter of close observation. I'll break down large ares of flat gray into smaller pieces of darker gray, and smaller pieces of lighter gray. It's a process of slow sub-dividing, growing ever more specific and detailed.
From a technical standpoint, there's really nothing exciting happening here - it's just a lot of patience and 'temp layers'. Even so, if you're unfamiliar with the techniques make sure to check out the videos linked to the right.
RELATED TECHNIQUES SHOWN IN THIS VIDEO
Why would anyone paint a rock? One great reason is called a 'study'. The idea here is to add depth and richness to your mental library by learning the details of real-world stuff. In this case I'll be demonstrating a study of slate, though the same concepts apply to all subject-matter. If you want your illustrations and concept art to improve, studies are a great way to do it.
If you're unfamiliar with visual research or studies, make sure to check out the videos linked to the right.
Today we'll finish painting the marble, moving from a graphic block-in to a rendered form. It's worth noting that this polishing process can takes hours or days, so don't be mislead by the brevity of this short video. Rendering takes time, don't rush.
The true takeaway from this video isn't Photoshop technique - it's visual simplification. The trick is to allow yourself to look past the details until you've successfully blocked in your image, and only then are you able to dig into the texture. If you're unfamiliar with any of the Photoshop tools or techniques used in the demonstration, make sure to follow the links to the right to learn more!
RELATED TECHNIQUES SHOWN IN THIS VIDEO
Color observation game (an example exercise)
Beginners often have trouble when painting glass. It's reflective, refractive, and translucent. Scary, right? It doesn't need to be. This painting demonstration focuses on the act of visual simplification. Through working in passes, we'll make the challenge of glass much less intimidating.
This video showcases the first half of the process: the block-in. Like a blueprint for a house, this will give us clear set of guidelines to use for the final polish. If any of the techniques are unfamiliar to you, make sure to watch the videos liked to the right!
RELATED TECHNIQUES SHOWN IN THIS VIDEO
Blending paint on screen with the brush tool
Creating a mask on a layer group
Separating shapes with 'temp layers'
Tweaking shapes with the warp tool
Starting with our clean linework from the previous video, today we'll begin to add color to our tea kettle. This demonstration takes a different approach than we saw in the spatula example - the color begins with vector shapes instead of painted brush strokes.
Even if you don't prefer working with vector shapes, the point of this video is that "Digital Painting" takes many forms. Especially if you come from a traditional art background, I strongly encourage you to approach Photoshop with an open mind. Vector shapes might not feel like 'painting' to you, but give them a chance. You might be surprised!
With the rough sketch complete, today our goal is to create a refined line drawing. The basic principle is similar to working with traditional tracing paper - using the sketch as a guide, but replacing the rough lines with clean contours. Since we're using Photoshop for the task, the process is a bit different.
If any of these techniques are unfamiliar to you, make sure to check out the videos linked to the right for more information.
RELATED TECHNIQUES SHOWN IN THIS VIDEO
This process demonstration starts at the very beginning: the sketch. It's common to start paintings and studies with a strong under-drawing, though you might not know how to approach it in Photoshop.
One approach is to scan a traditional drawing. If that's your intention, I recommend watching this video on preparing your scanned line-art for painting.
The other approach is to draw your lines directly in Photoshop. This three part demonstration explores how to tackle the challenge. If any of the techniques are unfamiliar for you, check out the in-depth videos linked to the right.
RELATED TECHNIQUES SHOWN IN THIS VIDEO
Today's video concludes our cartooney forest demonstration. The previous video left off with a canvas full of flat colors (not unlike a coloring book) - and today we'll add some shadow information and polish it out. If you're unfamiliar with any of the techniques shown, make sure to watch the videos linked to the right!
In this video I'll demonstrate painting in a vibrant, cartoon-influenced style. The process isn't particularly complicated, but it showcases some time-saving steps I've learned over the years. If any of these techniques are new to you, make sure to watch the videos I've linked to the right.
RELATED TECHNIQUES SHOWN IN THIS VIDEO
In the first half of this demonstration I painted the major masses of the missile platform. Working in this manner, from simple to complex, is a common story on Ctrl+Paint. There's no point in adding the detailed missiles if the underlying form isn't correct first. But at this point in the demonstration, I'm comfortable with the foundation and it's time to add the detailed missiles.
The technique central to painting these missiles is called "smart objects", and is a bit unexpected for those with traditional art roots.
RELATED TECHNIQUES SHOWN IN THIS VIDEO
In this process demonstration I'll show you an approach to painting industrial subject-matter. This missile platform poses a particular challenge: there are a lot of missiles. Though you might be tempted to paint one complete missile and then make copies, I demonstrate a better alternative. Like all of the "Let's Paint" videos, I don't go into much depth on the individual techniques shown in this video. Instead, I've linked other videos which elaborate on these unfamiliar concepts. Have fun!
Note: I'm not advocating war with this demonstration. Missiles are a sad reality of modern life, but more importantly -- are prominently featured in contemporary video games.
In the first half I demonstrated painting the basic forms of the tire. Today we'll finish up by painting the surface details using some uniquely digital techniques. If you see anything new or unfamiliar to you, make sure to watch the videos linked to the right to learn more!
Similar to the spatula that kicked off the series, this process is all about working in passes. To approach this seemingly complicated shape, I first envision it as a simpler one.
This painting demonstration is another entry in the "Let's Paint" collection. Instead of showing you every single brush stroke that I make, it aims to give a process overview. As I work, you'll see me pointing out specific techniques - each of which has a related video linked to the right of this description.
RELATED TECHNIQUES SHOWN IN THIS VIDEO
Visual Simplification - Video
Transforming the ellipses - Video
Lock Transparent Pixels - Video
Dynamic Brush Strokes - Premium Series
Today I'll paint a spatula. Exciting, right? It is because of the free series that it kicks off: the "let's paint" demonstrations. Each of these demonstrations shows me painting a single object from start to finish. As I work, I'll be mentioning the specific techniques I'm using - and each of these techniques is explained in videos linked at the bottom of the post.
Why is this exciting?
Because there are hundreds of free videos in the Ctrl+Paint library at this point, and it can seem overwhelming deciding which to watch next. It's not always obvious which techniques fit together and in what ways. The 'Let's Paint' videos give me an opportunity to show the techniques working together, and creating images start to finish. So in a sense, these videos work like a table of contents -- but visual.
To see more, visit the Let's Paint page here.
