This video finishes my explanation of removing your linework from a painting. Once again, we see the power and versatility of working with layer masks to non-destructively hide the initial drawing.
If you don't know about the basics of masks, make sure to watch these three videos first: Masking 101 pt 1, Masking 101 pt 2, and Masking 101 pt 3
In art school, drawing 1 teaches you the basics of form, light, and shadow. This premium series approaches this fundamental subject-matter with Photoshop as the medium. Honestly, this is the foundation of painting, and if I could only recommend a single series from the store this would be it.
Paintings often start as line drawings. Eventually, you'll paint over those lines - resulting in a full painting. If you made that line drawing on its own layer in photoshop, you're able to remove those lines in a totally risk-free way! This video shows how to use a layer mask to easily remove the linework and replace it with a painting.
If you don't know about the basics of masks, make sure to watch these three videos first: Masking 101 pt 1, Masking 101 pt 2, and Masking 101 pt 3
Color is relative. Depending on the surrounding colors, ambient light in the room, and a variety of other factors - your results will vary. This video explores the idea of relative color, and suggests some tips for carefully observing color. Training your eye to carefully ovserve color is challenging, but very worthwhile. Good luck! If you want to see the earlier video mentioned in the post, here it is -- "guess that color"
Edge control is a huge factor for painting technique. To properly describe form you'll need to use both hard and soft edges. This video explores a practice routine designed to hone your edge control. I can be tricky learning to observe hard and soft edges, but they are essential.
I encourage you to give this technique a try! Download the lesson file here (it's a .PSD). Have fun!
Beginners often think of things in terms of line, and not in terms of tone. As a result, it's easy to default to hard edges in your painting. Seasoned painters know, however, that hard edges should be used sparingly and with purpose. This video explores the idea of a 'lost edge', and how it can be used to enhance the mood of your painting.
Drawing shape, from observation, is a fundamental skill for all illustrators. This is what art students pay big bucks for in their first year at art school. In this video we'll put the previous lessons on shape to use in a still life drawing. No matter what level artist you are, still life drawing is challenging and worth practice. This is how you improve, so have fun with it!
Sometimes the best way to see an object is by looking at the space surrounding it. No, this is not abstract zen wisdom - it is called "negative space". Learning to see negative space is just as important as the subject itself (the positive space). Eventually, when you're designing characters and environments, you'll be using the negative space intentionally - so get used to looking for it in your still life drawings!
Another way to draw from observation is by observing angles. In this video I describe the "linear-block-in", and how it can be useful for accurate drawing. The basic concept is to work from basic to complex: starting with a large "envelope" that encapsulates the entire form. As you work, the envelope is refined into smaller and smaller angles, which can eventually rounded out into curves. This is a very academic way of drawing, and can be a good practice for training your eye.
There's a variety of ways to describe form with a pencil, and the most common is 'contour'. This is a linear approach to drawing, focusing on creating descriptive outlines. The trick is to draw the unique contour you're observing, and not a generalized outline drawn from your memory. Beginners often fall into the trap of drawing 'symbols' instead of actual objects -- even if they are sitting down with an object directly in front of them. As children we're taught to draw symbols, and becoming an artist requires you critically look and record.
Basic drawing doesn't need to involve many tools, but the two described in this video are essential: pencils and erasers. Here you'll find a basic introduction to the types of pencils and erasers commonly used in drawing. Additionally, I explain how colored pencils (including non-photo blue) can be used in a line-drawing to construct form. The lesson ends with a quick homework assignment to test out your new knowledge!
Being inspired by art you see on the internet is both good and bad. It's bad when you copy the style, and not the substance. This video discusses the danger of digital painting fads like 'speed-painting' and 'painting silhouettes'. In this video I break from tradition and use some examples of other artits' work: David Levy and Mike Yamada. To see more of their paintings, make sure to check out both vyle-art.com and myamada.com.
Edge control is crucial to solid digital painting. Traditionally, this means having a very steady hand and careful mark-making. When working digitally, the rules are a bit different. This video introduces a few more unconventional masking techniques. They may seem pretty foreign at first, but can yield a huge effect in your painting process. If you don't know about the basics of masks, make sure to watch these videos first: Masking 101 pt 1, Masking 101 pt 2, Masking 101 pt 3, and Alternative Masking pt. 1
This video is a quick introduction to two alternative masking techniques in Photoshop. If you don't know about the basics of masks, make sure to watch these three videos first: Masking 101 pt 1, Masking 101 pt 2, and Masking 101 pt 3
For traditional drawing, it doesn't get any more basic than the HB pencil. That said, its versatility keeps is relevant for even the most skilled artists! The ctrl+Paint unplugged series is all about traditional drawing, and this is the major tool you'll be using.
Do you keep an "inspiration" folder? You should! This video explains the benefits of keeping a folder of inspirational paintings, and organizing them with Adobe Bridge. There are a variety of programs that offer similar tagging and organizing, but Adobe Bridge integrates well with other Adobe software, so I like it a lot.
Drawing is at least 50% 'seeing'. In order to capture the subject that you're looking at, you need to be able to critically look at it. One of the methods that artists use to accurately observe an object is called "visual measuring", and it's described in this video.
Capturing the 'gesture' of an object is not limited to figure drawing. The exercise shown in this video is one of the most direct and active way to sketch, and doesn't require a computer.
And make sure not to miss the other videos in the Unplugged Series!
Realistic color is often pure and unmixed. Learning to paint realistically involves learning about the way light behaves, and how colors bounce from one object to another. This video shows you how you can kill two birds with one stone: create realistic color and unify your color palette at the same time.
Painting requires you to think about many things, and one of them is color. Learning to accurately observe color will translate into more efficient painting. The less time you spend re-painting the same area of yor canvas searching for the perfect color, the quicker you will be able to finish the work and move onto another. This video offers a color drill which is all about careful observation. How close can you get? Reader Aaron M. reminded me of a fantastic follow-up: The Munsel Hue Test. This is a fun way to test your hue observation skills. I would love to see scores for both of these games in the comments!
