Now that we've created a polished sketch from photo reference, it's time to apply the same skills to imaginary subject-matter. Some of the skills translate directly, but you'll also need to comfortable with two things: the subject matter and linear perspective.
Continuing on our dragon drawing journey, part 2 polishes the rough Komodo Dragon sketch. In this segment we'll see how important the loose sketch phase was, and how it allows for confident details.
Mini-Series Videos
Part 2
Part 3
It's easy to see the sketches of a professional artist and think "no way I'll ever get there". The control, the detail.. it can seem like an impossible task. This three part series is an attempt to shed some light on the requisite steps that lead to polished digital sketches. In this first segment, we'll start by doing a photo-study.
Mini-Series Videos
Part 1
Part 2
Part 3
Now that the background elements are all in place, the image needs a bit more continuity. Color, value, and relative contrast are important when incorporating disparate parts into a single painting. From a technical standpoint, we're relying heavily on clipping masks and layer groups for this phase --- but to me, unity requires more than understanding Photoshop features. As always, make sure to watch the related techniques videos to learn more!
Mini-Series Videos
Related Techniques
As we continue working on the background, it's time to start adding textural details. This step is fast and efficient thanks to the "Smart Object" layout. As in the previous parts of this mini-series, make sure to look to the right to find links to related technique videos. In the next installment we'll finish the image by pulling all of the colors and values together.
Mini-Series Videos
Related Techniques
The next step in our background efficiency mini-series has us making detail elements. In the last video we created a few placeholders (as smart objects), which we'll turn into hand-painted ladders. Though I use a ladder in this example, keep in mind that the technique can be used for any repeated object in your scene. Telephone poles? Mailboxes? Consider using a smart object.
To fill your background with realistic details, why not save some time by repeating elements? Whether you want to reinforce a sense of scale, or your image calls for repeated objects - "Smart Objects" can save you a lot of time.
This is a 4 part mini-series, and the pace is a bit different than other videos on this site. Instead of explaining a single topic, this mini-series serves to showcase fundamental skills working in harmony. So as you watch, you might see some techniques you're not familiar with -- but don't worry! The links to the right will catch you up to speed on these previously explained concepts.
Mini-Series Videos
Techniques used in this video
It's common to find brush packs online. These *.ABR files are extremely powerful, but only if you know how to install them. This video will get you up and running!
Free transform, as we saw in the previous video, can be a very precise tool. In this video we'll be creating a room full of ornate windows - and use the power of smart objects and the free transform tool to save time. Though this workflow might seem like 'cheating', modern illustrators take advantage of a wide array of uniquely-digital tools.
Related Videos
Additional Recommendations
Free transform is often a beginner's first tool. As such, it's easy to overlook some of it's more advanced (and hidden) functionality. In this video we'll examine the practical uses of modifier keys while free transforming ellipses into position.
Clipping masks are great. I use them every day. In today's video, we'll see how to make them even better with a little help from layer groups. Do you have a cool use for this technique? Let's hear about it in the comments!
Related Videos
In today's video we'll complete the trim sheet mini-series by adding the final details. As you'll see in the video, this technique is more 'collage' than it is 'painting', though still requires a solid understanding of linear perspective. If you've never tried working in this way, here's your invitation! Give it a whirl!
Basic Rendering 3, available in the Ctrl+Paint store, continues where part 2 left off. We'll explore the process of adding realism to your imaginary forms, and steps to improve your grayscale rendering. The series focuses on fundamental skills and theory that apply to concept art, illustration, and painting in general.
One approach for detail is to use photographic overlays. Basic rendering 3 shies away from this method, focusing instead on hand-painting techniques. Though commercial work often involves photo-overlay as a time-saving technique, it's important to learn the manual method first.
Just watching isn't enough. To practice your new skills, this series includes a variety of study sheets and PSD files. These provided homework assignments aren't glamorous, but they're important for mastering the basics.
Basic Rendering 4 concludes the series by showcasing a real-world illustration process featuring the tools, technique, and theory from parts 1-3. First we explore the importance of composition and ‘value pattern’. This process informs the creation of our thumbnail sketch and digital rough, which is then enlarged and polished into a final illustration. Most importantly, the series focuses on the design choices I make throughout the process (both successes and failures), which can be applied to any illustration.
Before we jump into the final photo overlay phase, this video provides a word of caution: watch your overlaps. A common issue with layers set to blending modes like 'overlay' and 'multiply' is that they pile up and get out of control. In part 3 of this series we'll see how layer groups can help avoid this sloppy result without sacrificing any versatility.
If you've watched the two previous parts, you might be confused. Yes, I did add an additional video. If all goes according to plan, this will now be a four part mini-series, and we'll complete the detailing phase next week. Stay tuned!
Today we'll continue work on the texture 'tile-set' for our concept painting example. This part of the process allows you to get to the fun stuff next week. If you're not sure how to make ''tiling textures", make sure to watch this older video .
The warp tool is incredibly powerful. In previous videos we've used it to wrap decals around characters, and to create replaceable texture sheets using smart objects. In this three-part series we'll explore creating a 'trim sheet', and see how it can speed up the concept art process.
When drawing with paper and pencil, rotating your page is second nature. Doing so allows your arm to more naturally draw challenging curves and straight lines. Why not work the same way in Photoshop? This video explores a personal favorite tool of mine: Rotate Canvas.
To follow along with the video, make sure to download your canvas rotation practice sheet. Also, this tool is a great candidate for a custom keyboard shortcut. Once you see how cool rotate canvas is, you'll want to use it a lot.
We're often our own worst enemy when it comes to forward progress. It's good to be critical, but what if you're being too hard on yourself? This is an argument to help put things in better perspective.
