Depth

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Successful images give the illusion of three dimensional space on a flat monitor.  Creating this illusion of depth involves a variety of techniques, which gives beginners many ways to mess up.   Though not a comprehensive list, common methods involve overlapping shapes, atmospheric perspective, and the scale of surface details.  This video explores some easy ways to enhance the illusion of depth.

As a final note, all of these techniques are improved with linear perspective.  If you don’t feel very comfortable with those skills, I’d encourage you to check out the basics.

Related Topics

Horizon Line

Perspective Sketching 1

Perspective Sketching 2

Light Direction

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One of the most sure-fire fixes for amature work is light direction.  Without an obvious, consistent,  light in your scene , no amount of cool details will fix the problem.  Light is the structure that the composition rests on.  It’s the glue that holds everything else together.  

Many beginners approach this problem by making the light fancy and complex.  A rim light, or colored glow, will not fix your problems.  The best approach is to master simple, basic, light setups.  Being able to clearly depict sunlight, overcast skies, and simple indoor lights will improve any illustration.  In this episode of the fix list we’ll explore common problems with light direction and how to fix them.

Related Topics

Basic Rendering 2: Imaginary Light

Observed Color

Linear Perspective

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Linear perspective is a desperately undervalued tool for most beginners.  Commonly associated with street scenes and train tracks, many omit linear perspective from organic scenes and characters.  As it turns out, linear perspective is present in all images, not just architectural ones.  This single confusion leads to perhaps the most common downfall in beginner work: confusing space.  

To avoid confusing, flat, images, linear perspective is crucial.  In this episode of the fix list we’ll look at some common examples of incorrect perspective, and how to fix it.  But it’s important to mention that perspective can’t be explained in 10 minutes, and I’d recommend following up with the basics.

Related Topics

Horizon Line

Perspective Sketching 1

Perspective Sketching 2

Variety

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As an illustrator, you’re a bit like the director of a movie.  Each object, character, and element in your scene is hand placed - like a carefully set stage.  With this total control, it’s up to us to create visually pleasing arrangements.  You’d be surprised how often images are dragged down by stiff, repetitive, object placement.  

This video explores a collection of artwork which lacks variety - and offers solutions to liven up the compositions.  The really nice thing about adding variety is that you don’t need any special skills to do it.  Choosing to place your objects in a pleasing way isn’t any harder than placing them in a boring way - so why not liven it up?

Related Topics

• Principles of Design: Scale and Proportion

• Principles of Design: Repetition

Value Distribution

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Values are what we use to describe form, light, and shadow.  They’re a huge part of the way we see three dimensions on a flat screen.  They’re also a huge trap for beginners.  I spent years learning values the wrong way, and then years trying to overwrite bad habits.  

The common wisdom is that objects need a full value range: light lights, and dark darks.  That’s how we render realistically.  The problem with this guideline is that the value range applies to the whole image, not each object.  If you assign a full value range to all objects, the image becomes disorienting. A marshmallow or cloud might have very light shadows, and a bowling ball might be primarily dark.  In this episode of the fix list, we’ll explore problems with value distribution and how to fix them.

Related Topics

Basic Rendering 3: Realism

Form, Value, and Light

Sketching with Values

Why practice in Grayscale?

Balance

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Balance prevents physical objects from falling over.  Visual “balance” may be a less measurable phenomenon, but it’s no less important for creating stable images.  Depending on the arrangement of your objects in your image, the composition can feel ‘heavier’ on one side or another.  When this happens, the viewer feels subtly uncomfortable - like a musical chord left unresolved.  Without balance, the viewer’s gaze can drift slowly out of the frame, and lose attention.

This episode of the fix list explores common balance problems in beginner work, and proposes versatile solutions.  Though it doesn’t present a comprehensive list, it’ll give you a good starting point for creating balance in your own work.

Related Topics

Principles of Design: Balance

Line of Action & Focal Point

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Artists are a bit like magicians: controlling our viewers’ gaze with tricks of the trade.  Like magicians, we want our viewers to stay focused on the interesting parts of the show.  We have a variety of compositional tools at our disposal to control the audience’s attention, but the line of action & focal point are especially effective.  The concept can initially seem abstract, but the best compositions all take advantage.  

The ‘line’ might be invisible, but its impact isn’t.  In this episode of the fix list we’ll see where beginners lose the focus, and how to grab it back.  

Related Topics

Principles of Design: Emphasis

Visual Tangents

Information Hierarchy

Storytelling

The fix list is divided into three categories, though I nearly set 'storytelling' in a category of its very own. Painting is, at is core, storytelling. Detai...

The fix list is divided into three categories, though I nearly set ‘storytelling’ in a category of its very own.  Painting is, at is core, storytelling.  Details, technique, theory, and craft only serve to reinforce your story.  Consequently, no amount of craft will remove the need for story.

Style is commonly a target for beginners.  We aim to reproduce the superficial elements from artists we admire, whether it’s subject-matter or craft.  This strategy misses the essential ingredient of great work: the idea.  Every painting should start with a clear idea, whether it’s written or sketched.  If you don’t know what you’re drawing, how can you draw it well?  In this episode of the fix list we’ll explore common problems with story, and how to fix them.

Introducing the Fix List

Critique is an essential part of improving your artwork.  But good critique is hard to find.  Even if you can't find others to review your work, self-critique is essential.  I've created a series of videos called the 'Fix List' which gives you a starting point for self-critique.  You're encouraged to view them in any order.  Most importantly, bookmark the list for the next time you get stuck - and use it as a framework for targeted improvement.  Have fun improving your work! 

Improve Your Reference Library

I'm assuming you have a few photos saved in your reference or texture library.  Probably more than a few.  Sometimes it's easy to think that 'more is better', but in this video I give an alternative.  Let's take a quick look at ways to improve your reference library without adding new photos. 

Vector Boot Camp 6: Final Exam

In the previous 5 videos we've looked into what Photoshop's vector tools are capable of. In all of this theory, it might have been hard to see their practic...

In the previous 5 videos we've looked into what Photoshop's vector tools are capable of.  In all of this theory, it might have been hard to see their practical application.  Today's video offers a real-world scenario -  allowing you to try out these powerful (if uninspiring) new tools.  I strongly encourage you to download my sample scene, and give it a go!  This might seem unwieldy at first - but believe me: it's worth it.  

Vector Boot Camp 5: Shape Subtraction

As you've seen in previous videos, vector shapes allow for extreme precision and edge control. Spending more time with these shapes often leads to a specific...

As you've seen in previous videos, vector shapes allow for extreme precision and edge control.  Spending more time with these shapes often leads to a specific case: the compound shape.  A larger shape trapping areas of negative space - like the letter 'e'.  In today's video we'll explore how to make these shapes in Photoshop vector, using the principles covered throughout the mini-series. 

Vector Boot Camp 4: Paths and Shapes

Now that you've had some experience with the pen tool, it's time to get more comfortable with vector shapes, and paths. In Adobe Illustrator these are not se...

Now that you've had some experience with the pen tool, it's time to get more comfortable with vector shapes, and paths.  In Adobe Illustrator these are not separate categories, but Photoshop has a unique way of handling the issue.  In a perfect world, I'd change the system... but this is the one we've got, so let's learn how to use it effectively!

Vector Boot Camp 3: Compound Paths

For episode 3 of Vector Boot Camp, we're getting a bit more advanced. Here we'll explore the creation of 'compound paths'. Sometimes complex shapes are mor...

For episode 3 of Vector Boot Camp, we're getting a bit more advanced.  Here we'll explore the creation of 'compound paths'.  Sometimes complex shapes are more efficiently tackled as the union (or intersection) of simpler ones.  Sadly the process is trickier in Photoshop than it is in Illustrator, so prepare to watch this video more than once.  It's worth it, though - this stuff comes in handy!

Vector Boot Camp 2: Workflow

In the previous episode of Vector Boot Camp we learned about the basic tools. This video shows a more realistic example of these basic tools in action. Ctrl+...

In the previous episode of Vector Boot Camp we learned about the basic tools.  This video shows a more realistic example of these basic tools in action.  Make sure to download your copy of the worksheet, and follow along!  Though I don't mention it in the video, these techniques work in any software that has vector tools, so feel free to try it in Gimp, Krita, etc.

Vector Boot Camp 1: Tangency

Vector tools are a powerful weapon for painters, though they're commonly overlooked. This miniseries will help give you the technical groundwork required to ...

Vector tools are a powerful weapon for painters, though they're commonly overlooked.  This miniseries will help give you the technical groundwork required to bring Photoshop vectors into your personal workflow.  Said differently: "this stuff is important, practice it because I said so".  

The Vector Mask

Hopefully you are already familiar with masking in Photoshop.  (You aren't?  Check out section 12 of the free library. )  But one type of mask that's commonly avoided by illustrators is the 'vector mask'.  I personally avoided it for years.  But it's a great tool!  In this video I'll introduce you to your new favorite type of mask, and in the next few videos we'll practice our vector skills to take full advantage of it's power.

Easy Grid Numbering and Templates

It might seem like a minor thing, but adding numbers to presentation boards is a personal pet peeve.  Over the years I've spent countless hours doing this mundane task.  Finally, I decided to automate it - and to share my results with you.  Make sure to download your favorite option to the right of this text!

Tool Combo: Mixer Brush + Eraser

Certain tools are neat on their own, but fantastic when used in tandem.  This tool pair is one of my favorites: mixer brush and hard eraser.  If you want to give it a try, why not download the Tool preset?  If you're confused about tool presets vs. custom brushes, check out this video.

Best of Both Worlds 2: Caveats

In the previous video I showed how powerful it is to join 'onscreen mixing' with color grading adjustment layers.  I also promised a followup video that explored the caveats and downfalls, so here goes!  

My final verdict is still very positive, and I think this technique has a lot of potential.