Do you have a favorite few brushes? Do you like to use them with specific flow/opacity settings? "Tool Presets" might be for you! This feature is often overlooked or confused with "Brush Presets", but it is extremely useful for digital painters. This video explains how "Tool Presets" can add a big dose of efficiency and speed to your workflow.
A simple secret to productivity is eliminating roadblocks. Especially if you don't have much time to dedicate to practice digital painting, it's a good idea to get straight to the painting. This tutorial explains the "document presets" feature, and why it can help streamline your practice ritual. After all, sometimes the hardest part is 'getting started'.
As an illustrator one of your jobs is directing the viewer's attention. If you don't give them clear instructions on where to look, they'll manage to do it wrong. The principle of emphasis involves using contrast to make your focal point pop off the canvas. If done correctly, your viewer won't know their being lead around your image.
If you want to practice yourself, here are the orcs to download. And make sure to check out the other entries in the "Principles of Design" series
Making these videos has been a great experience, and it's probably time to introduce myself. After all, we're 100 videos in. I'm trying my best to sculpt ctrl+Paint in a way that represents my art experience. I've had two major formative experiences: 1) Self-Teaching. All of my software experience has been self taught, and I've never attended a painting class. As a result, I know how hard it can be to learn a new skill without a teacher.
2) Art School. I was lucky enough to attend the Savannah College of Art and Design, which gave me 4 dedicated years of art education. This was a totally different level than taking a few art classes in high school - I was living art. Though art school is absolutely not required, if you can go... it's a lot of fun.
Ctrl+Paint is my attempt to join these two concepts: self-teaching and art school. So if you're looking for either of those two experiences, you're in the right place. Thanks for being an awesome community!1
This entry in the Principles of Design series explores the idea of a visually balanced image. Though hard to quantify, most people are able to tell when an image is unbalanced. Generally they don't know how to explain it, but the image seems 'wrong' somehow. As an artist, it's important to create balanced images!
If you want to try out the techniques in the video with some orcs, make sure to download them here! I will warn you -- the file is a relatively large .PSD, so don't be surprised if the download takes a few seconds.
Also, it's important to know that I did not invent these principles! They are extremely old and well documented, so make sure to find other resources to explain with more depth. Photography books seem to be especially good at some of these concepts, as well as "Framed Ink" (my current favorite book on composition). And make sure to check out the rest of the "Principles of Design" series!
This is the beginning of a series which will discuss the fundamentals of composition. The principles of design are versatile: they can be applied to any sort of visual art. As a result, this series is separate from the "unplugged" series, and I'll be alternating back and forth between them in the coming weeks.
View the rest of the "Principles of Design" series
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.
Available now in the store.
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.
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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