The previous two videos explained how to observe and paint glossiness from reference. What happens when you are painting a glossy surface from your imagination? In these cases you'll need to have a strong mental texture library, and apply what you've learned in your studies to the imagined forms. This video explains how to approach this task by using appropriate reference materials and doing a bit of mental extrapolation.
Even if you're aware of 'glossiness', and can observe its effects, you still need to be able to reproduce it in your own paintings. This video offers some practical advice for doing exactly that. Focusing on brushwork, I'll show how to use layers effectively to work on the specular highlight separately from the base form.
Improving your painting is often a matter of depicting surfaces realistically. One component of a surface is the glossy highlight, or, "specularity" and it is explained in this video. If you're interested in learning more about surfaces and improving your rendering techniques, you will enjoy two of the series available in the store: Basic Photoshop Rendering and Creating Realistic Surfaces.
Visit any large book store and the 'art technique' shelf will be filled with titles like "How to Draw ___ (dragons, zombies, vampires, cars, etc.)" -- this is deception. Instead of useful instruction, this is merely a scheme to sell books. Want to learn the real secret of how to draw anything? Observe, and practice. This video shows a versatile approach to learning any kind of new subject-matter. As you progress in your art career you'll find that drawing isn't a set of individual recipes, it's a single way of working. When I set out to draw a dragon I use the same techniques that I would use to draw a fire hydrant. Hopefully this video will empower you to tackle the subject matter your're having trouble with - and to ignore the "1,2,dragon" shelf at the book store.
Why are console video games played with a controller or a touch screen, and not a keyboard? Because those are the best-suited input devices for the way most users interact with their device. Guess what? Being a digital painter means you're no longer included in "most users". Now you've got a different set of needs, and will most likely be spending longer at your computer than the average user. With this in mind, a standard keyboard might not be the best input device for you. Just like using a stylus instead of a mouse, you might want to consider alternative keyboards or controllers for your other hand.
When it comes to ergonomics, re-mapping your keyboard shortcuts is a great start - but it doesn't need to be the end. Over the years I've radically changed my input scheme and the results have been very clear: expensive, but worth every penny.
Like the buttons and dials in your car, keyboard shortcuts are the "user interface" with which you control Photoshop. Have you customized these commands yet? The whole point of keyboard shortcuts is to save you time and avoid wasting energy. With this in mind, it's worth considering your personal needs when working with keyboard shortcuts. In general, shortcut keys are designed for easy recall: ctrl+s = save, etc. In this video I suggest that a better scheme for assigning keys is based on the position of your left hand. Re-mapping the keyboard shortcuts with this new prioritization will reduce your hand strain and speed up your painting technique.
In pt. 1 I showed you the basics of creating clean straight and curved lines in photoshop. This video shows a sample workflow: creating a mechanical prop using the techniques introduced in the previous lesson.
Reader Anders was nice enough to expand on the topic in his own video here. Check it out.
Clean linework can be a challenge to create with a stylus. This video offers a solution. If you were an industrial designer it would not be considered "cheating" to use a ruler or an ellipse template. Likewise, you're not breaking any rules by utilizing some of Photoshop's mechanical aids for drawing technical linework.
Whenever a new medium emerges, artists are quick to dismiss it as inferior -- and digital painting has been received negatively by many artists. This video is my attempt to argue in favor of digital painting. Of course, there's no correct medium to work in. Working digitally, though, brings some wonderful new opportunities to the table. Besides, when was the last time you hand-wrote a letter? With my commercial work I find the best solution is almost always a combination of tools: some 3D, a little photo-texture, lots of reference imagery, and digital painting to pull it all together.
Painting is all about controlling your mindset. You can easily become your own worst enemy by tensing up, being overly critical, and worrying about your mistakes. Learning to control these feelings is a huge part of learning to paint. In this video I'll show you a drill that helps you come to terms with 'professional detachment'. This practice of 'letting go' will give you a thicker skin, and make critique easier to hear. Being able to throw away your work is essential for all artists, but it is especially useful for professionals.
Thumbnail sketches are small drawings which help plan your larger, finished, works. There's noting 'finished' about them, and they are generally thrown away once you begin the final piece. So why not use 3D software to help generate some ideas? As far as 3D software goes, Sketchup is very basic and straightforward. Even if you aren't interested in making complex models in 3D, doing a quick block-in of your scene and then moving around it in 3D space can help you select dramatic camera angles.
Have you ever tried 3D modeling before? Many digital painters answer "no" to this question, though even a small amount of 3D experience can make a huge impact on your paintings. This video introduces Google Sketchup as tool for drawing. As it states in the video, the word 'drawing' can mean many things - so if you're going to paint over it anyway, why not use some 3D modeling as a foundation for your work?
If you've got a traditional pen or pencil drawing that you want to color digitally, scanning the image is only step 1. Before you can start painting you need to make a few adjustments. This video shows some simple tweaks that will make your sketch prepared for painting.
A common question for beginners is "What size should I make my canvas?" Wanting to know exactly how many white pixels to lay out before you start working is a comforting feeling, but there's no 'right' answer to this question. In this video we'll explore the idea of dynamic resolution. Counter to the rules for digital photography, there are benefits to beginning with a small canvas and gradually enlarging it as you work.
Hopefully the first two videos have sufficiently impressed you with the power of masks. If not, this video about editing masks with the brush tool absolutely will. By this point you've seen the power of masks, but haven't seen how they relate to a painting process. Once you begin adding nuance and painterly edges to your mask with the brush tool, you'll see what you've been missing all this time. It can be hard to explain in words, but all experienced digital painters will agree that masks bring unique power to the painting process.
The difference between a "good painting day" and a "bad painting day" often comes down to mindset. This video shows a simple but effective warm up exercise to start painting with the right mindset. If athletes and musicians begin each session with stretching and warm up exercises, why aren't you? Painting is a physical and mental exercise, and you benefit from a bit of limbering up before you work.
People are good at being creative, and computers are great at repetitive tasks. Why not let your computer do what it's good at and focus your energy on the more creative work? As a digital painter, you should be on the lookout for repeated elements in a painting: large or small. This video shows how to efficiently paint a threaded screw through the use of duplication and the transform tool.
The introduction to masking continues in this video with layer sets. Did you know you could apply a single mask to multiple layers? Get ready to have your mind blown. This is where masking severs ties with the traditional art world, and can only be called "strictly digital". Even though it might seem abstract at first, this concept will completely change the way you paint.
Masking is quite possibly the most feared Photoshop topic. I'd argue that it's also the most necessary function for efficient digital painting. The masking 101 series is here to ease you into the basics. In this first episode we'll compare Photoshop masks to their real-world counterpart: masking tape.
The brush tool is the heart of digital painting. It can be a bit confusing, and this video will help familiarize you with the basic components like Opacity and Diameter. Interestingly, the way to make the brush tool more useful is to limit the functionality. In this video I explore the difference between my two favorite types of brushes: Opacity Brushes use the pen pressure on your stylus to control the amount of pigment, and have a fixed diameter. Keyboard shortcuts are used to change the diameter.
Diameter brushes use the pen pressure to control the diameter, and have a fixed amount of pigment. This creates the effect of applying ink with a bristle brush -- you get a varied line weight, but a consistent intensity of ink.