Amazing TOP 5 Tips for digital drawing and design.

Amazing TOP 5 Tips for digital drawing and design.

Video Transcript

get a ladies and gentlemen welcome to draw with Gaza I’m Jazza and in today’s video we are going to be going through five top tips that you can apply to your workflow that are really awesome for digital drawing and design and I’m specifically going to be approaching these tips through the angle of character design which is my personal favorite thing to refine my workflow of and improve my skills in and speaking of improving skills this video is sponsored by skill share and I’m familiar with skill share because a couple of years ago I actually subscribed to them because of a course are put up by Patrick brown who is one of my all-time top favorite artists and actually more recently he came out with a course called characters in the scene from sketch to digital now I say this because Skillshare approached me and asked me if I’d be interested in making a video talking about that platform and of course because I used it before and I knew it was good value I thought it would be really interesting to put together a bit of a compilation video of some top tips that I’ve learned as I’ve scoured and watched loads of courses on Skillshare so as you can see I’ve already passed over watching a hundred minutes of skill share videos today but I’ve actually been enjoying these classes and courses in the background while I’ve been working on other projects over the last few weeks so aside from sharing you these tricks in this video I will also link to the courses and refer to them specifically in the video make sure to go to school share calm week and start browsing for free and check out what is available they have over 10,000 classes in the illustration drawing design and more and you can get a discount with the first three months only cost 99 cents for three unlimited months of premium Skillshare and then from there a subscription the skill share can be as low as $8 a month and it’s a really great middle ground between expensive formal education and free YouTube videos which can at times be difficult to target and find the exact tip tool technique or teacher that you need to complete the project or task you want to get done so today I’m actually going to be drawing in Photoshop and I’m going to be demonstrating the five tips and techniques and tricks that I found most useful and that I will be applying to my workflow moving forwards each of which are tips and tricks that I never even knew about before watching this skill share tutor videos the first thing I’ll talk about was from a course by Charlie Bowater where she demonstrated using silhouettes of characters in the sketching brainstorming process to develop a character’s concept so I saw myself a design brief to create a medieval blacksmith character I tend to love medieval character designs and so I thought it’d be fun to do something like that and I played around with a few basic silhouettes now those of you who have watched my videos will know that I’ve done this before but with weapons and I have never actually really realized to do this with characters as far as character design but after watching Charlie’s videos I wanted to approach this silhouette process by using interesting shapes to create bold looking character designs with those strong poses now in the end this is one I was happy with it has that really broad sort of character pose with a good strong silhouette so I’m throwing this off on the side I actually duplicated this pose a couple of times and threw over a few different varying details because I had a basic silhouette I wanted to work with I again very roughly started just scratching around with different clothing and facial features weaponry little tweaks to the pose and proportions and overall the middle one here is the one I was happiest with and decided to move forward with this process of thumbnail sketching is really simple and really rough and loose and that’s the thing I like about it because I like drawing with construction lines normally if I’m drawing your character pose I’ll use a construction pencil and slowly build the geometry of a character add things like the torso the ribcage things like that and while I still like this method for building poses in particular I found that working with thumbnail sketches allows you to really quickly and easily build poses without worrying about accuracy of geometry and proportions and really focus on the strength of silhouette that also allows you to be a little bit more ambitious where you might not otherwise and if you make mistakes that’s okay too because you’ve invested far less time in producing the concept so once again that’s our first tip from Charlie Bo Waters class something I really enjoyed and from there she goes into more detail and then slowly but surely adds more and more refinement to her painting and that’s what I’m going to be doing next I actually copied and pasted thumbnail into a different Photoshop image file and this next little thing isn’t one of my top five tips technically but it is something I gathered that someone did in one of their courses that I thought was really cool where they pull the window out of a smaller file or a thumbnail file and you can see I have this Photoshop window the cool thing about this is I can actually put it here in the corner or resize it and I have that permanently there as a reference and I can move around in my image with the larger resolution that I’m working in here and my reference is there the whole time so again this isn’t one of my top five tips but super cool and I’d never known to do that before because normally I would just paste the references in the canvas that I’m working with but of course that means if I’m zooming in or out I can lose the position or visual cues of that reference so I’m going to move forward into some black and white painting just like Charlie did but I’m actually going to shift over to approach it in a way that Gabriel did in her series paint a portrait in Photoshop blank canvas – finished illustration she goes through the value painting process essentially referring to black and white painting I really enjoyed the way Gabriel talked about value painting in particular what the blacks and whites mean and that we rarely do use solid whites and solid blacks and there are different methods when it comes to edges and surface shading so on and so forth so I have gotten a bit of a head start here because I’ve done a bit of a sketch as you can see using my silhouette as a base and I’ve added a new silhouette underneath just a flat color sort of a mid-tone gray for my value painting and I’ve started off by zooming out sort of about the same size as my thumbnail reference and bringing in some shadow so as you can see it’s only one tone darker and the shading it’s in that gray tone and I’m doing black and white painting here I’ll be working in these gray areas and I won’t be working in full extremes in all areas of the piece I’ll be varying it throughout so we’re the first tip slash trick that I talked about was that thumbnail sketching and refinement process the next tip / trick I want to talk about when it comes to digital painting and design is painting with values and varying your observation what I mean by painting with values is what I explained painting in those gray tones essentially to create form and starting off really rough like I have here and then you’ll see me slowly adding more detail to both the lights and darks but when I say varying observation as you can see I’m zoomed out fully here and this really simplifies my view and lets me be quite loose and relaxed without over investing in details and then zooming in of course when I get to details but always jumping back out to get that distant view which is something Gabriel talked about in her videos and the other thing that I noticed a lot of instructors do in their courses is that they flip the canvas quite regularly to notice mistakes that they make or let their eye pick up areas that they weren’t naturally picking up all was sort of phasing out quite literally I noticed that about 90% of the instructors were doing this and this is something I’ve never really done and obviously a lot of people have gained benefit from that so I want to try and do that myself as I go through this process so value painting while varying my observation again this being an incremental process I approach it bit by bit and only gradually change the tone starting off with mid to dark tones and then eventually moving on to lighter tones one of the things I observed from most of my favorite tutors and lessons is that the most effective ways of painting have a really a symmetrical balance of light and shadow and I do find that I tend to be naturally a little bit safe and paint my values a little bit evenly throughout so in this piece I attempted to replicate a little bit of that asymmetry particularly by darkening the back leg and the lower part of the torso and midriff and having a few really bright areas at the top of the belly to really bring that out the shoulders the forehead and the upper arms of the character the lightest part of the character is a rim lighting edge that I add to the topmost edge of the character to signify a light source behind the character and also add a little bit of depth and solidity and then going in and adding some crisp edges and sharper details in the face in particular most notably in the eyes nose and mouth so I’ve got my character design in a place I’m happy with and as you can see it’s come quite a long way from the thumbnail I don’t need this referenced anymore so I can close this window but starting from all simplicity and then slowly building upon that this is the result that I have so the third top tip I want to share with digital drawing and design in Photoshop is something that I didn’t know existed and is super super cool this was a trick I found in a series by Josh Berkeley who basically had a bunch of videos where he talks about texture making her own texture overlays but this little tool is a hidden nugget that he demonstrated that I didn’t know existed if you go windows extensions and then open Adobe color themes you then met with this a little window which looks a little incomprehensible to begin with but basically it helps you find color combinations that work really well together and in different ways that can sort of help simplify the process as far as you finding a color scheme for characters objects design pieces whatever so first things first I’m going to create a duplicate of my black and white character here and I’m going to create a clipping mask on top of this layer and paint with my paintbrush just to fill in all of his skin areas the clipping mask is done by alt clicking the layer on top of the core layer I don’t want to go outside the edges of now I’m going to fiddle around with the color overlays until I find one that works well with skin tones there we go this is quite nice this vivid light color so now in this layer I’m simply going to paint in my skin tone now I’m happy with this skin tone so while I have it selected I’m going to open my color swatches library which is currently empty in my Creative Cloud library and I’m just going to add my foreground color hit add and so I have my skin tone there in fact I can name this skin base hit enter and so now I can find and select the skin tone anytime I want now back to this Adobe color themes window the reason I brought this up and the reason I think it’s really useful and can absolutely imagine using this quite often in the future this little wheel here as you can see if I move one of these selectors around changes the additional colors on either side of that central color to complement or contrasts are in it with the different modes so this is monochromatic mode so you’ll notice if I change it to let’s say a orange or yellow these other colors will create a color scheme in a monochromatic way that I can use more interestingly if I go to triad you’ll see that things all of a sudden a little bit different if I select say a bloom I am met with orange and green but each in a way that is sort of calculated to match or complement it now you may or may not love the results that you get with this but that’s okay because they’re customizable you can change the color mode or the selection mode by clicking on these little buttons here on the bottom left I personally prefer the HSB color selection so by selecting your central primary color here I can find a rich brown saturated color that I want to work with like that and already in this compound mode I’m given a few other options that I can use and I can keep that central brownish color and see what other schemes I met with in triad or in shades so on and so forth I like my compound mix though so I’m going to tweak this by with compound selected going to custom and then I can select each of these colors and tweak them to my liking so that I have a selection in the end of something that I’m really happy with I’m going to add a little bit of a silvery color in here because these are different colors I plan on using for different areas of my character here not for the entirety of the character but for broader areas of the character so let’s say I’m happy with the selection of colors I’ll name this color theme black Smith and I’ve saved that into my color swatches Creative Cloud library and there it is right under color themes and the cool thing about this is I have a palette that I can select colors quickly and easily from and paint them without needing to manually change them in the color picker or paint them on the canvas in a way that I can alt click and select them from not only that they’re also protected from accidental deletion or manipulation because they’re saved here in my Creative Cloud libraries and I can bring them up here and my Adobe color theme tool anytime I want to make any tweaks so I’m going to anchor my Adobe color themes on the right here because I can picture using this quite a bit in the future just by clicking that button it brings up the color themes panel and then I can hide it by clicking that so it’s nice and out of the way and then creating a new layer inside the clipping mask of my character here I’m going to select each of these colors and assign them to areas that I think they’ll look good in so with the layer that I’m working on set to the blend mode overlay I just paint on the basic colors into the sections that I think that these colors will work best in now for the sake of simplicity I’ll mostly stick to these colors except I just add a generic dark desaturated Brown for the pants but in other scenarios I might add some tonal variation throughout the piece after I’d laid down the core colors once I’m happy with how its applied I play around with the blend modes and find that I prefer the colors applied in a multiply blend mode I bring down the opacity to make it a little less saturated and I feel like this slightly darker more desaturated tone of the color schemes works really well with a character so that’s the result of me whacking some color in and I really helped take out a lot of the guesswork and make it a bit more fun by using these color themes in the Adobe interface I’m loving how this guy is looking I’m going to bring him down a little bit and I’m actually going to paint a little bit behind him just to make him stand out more so to do this I’m just going to select this gray of the background and select a lighter version of it and this really helps bring him out and also add some texture and interest to the piece and then to do so even more on a layer on top of that I’m going to select a darker gray and bring my brush size down I’m actually going to very roughly sort of scribble in a bit of a shadow area behind him this doesn’t have to be perfect because this is just a character concept piece but in a really fluffy rough sort of way I’m going to replicate his silhouette back here this is actually another neat little trick that I saw in one of the courses I think this was from the course by Charlie with the thumbnail sketches tip that I took so I’m really happy with that adds a lot of depth and let’s make it a little bit more interesting I’m going to paint a blue flat blue on that layer above it and then just go through some overlays until I find one I’m happy with so I have my character concept here I’m really happy with him but now I’m going to implement another little tip and trick I learned through a bunch of different courses in particular one by Patrick Brown the one that I hadn’t yet watched where he goes through creating characters in the scene from sketch to digital and also Cerreta collet cos series on character design bring your imagination to life both of these series outlined some color tweaks in particular for the skin tones that I think are really effective and then I didn’t know about so I’m going to apply those to this character here [Music] so I’m going to create a new layer and I’m going to select my skin tone and I’m going to bring it down to a warmer red or pinkish tone hit OK and then with the overlay set to soft light I’m going to gently make the nose at the end a bit redder same with the lips and the ears this may actually be more effective with a lighter pink let’s see what it looks like here and again paint into the nose lips and ears and this really does create a much more lifelike translucency with the skin it adds a bit of warmth and depth particularly in areas around the edges where the light is being caught now I’m using it sparingly in other areas of the skin tones where the light is catching but in both of these artists courses they go over how in particular in the ears in the nose in the lips and in the fingers and sometimes elbows using that Pinker tone really does bring things out and make it more realistic and a little warmer and more lifelike I can hide and bring that back and it really does add quite a lot of life to this character design it’s a really nice little addition to the piece here and takes it to a new level again without and with that is so cool now also in relation to skin tone shading I’m going to demonstrate another little tip that I learned from patrick brown’s course i’ve made a duplicate layer of my character here all on one flat image now previously i just thought of the dodge and burn tool as things that you can use to make areas lighter or darker but what i didn’t know is that in the Dodge tool and burn tool you can select the range that you dodge and burn in this top panel up here by default it’s selecting mid-tones but you can actually dodge or burn the shadows and highlights each of which has a different effect so I’m going to demonstrate these effects just by copying the head of this character so I’m going to start off with a burn tool the burn tool by default makes everything darker so if I on this character here use the default burning the mid-tones up here on the range I’m going to select highlights and on the far left character I’m going to burn the highlights and then now just burning the shadows I’m going to paint over here on the right now you’ll notice the effect is quite a bit different particularly on the right that’s a really harsh earn that we’re creating so now when I switch over to my dodge tool again with mid-tones by default dodging in some of the areas that are the highlights but now selecting highlights and in my character on the left here you’ll notice that this dodge tool is really making those highlights pop and bringing out the warmth of the highlights very rapidly and then last but not least selecting shadows and applying it over here on the right if anything it’s actually more desaturating the tones in the highlights of this character so each of these three heads has had the Dodge and burn tool applied to them in equal measure but with the character on the right we’ve been dodging and burning with the shadows in the middle we’ve been using the mid-tones and on the left we’ve been using the highlights and what I’ve gathered from doing this and in Patrick Brown’s example is I like a combination of burning with the mid-tone or shadows and dodging with the highlights or mid-tones depending on my needs and the vibrancy I want to create so going back to my character here burning in some of the shadows and then dodging in some of the highlights with the highlight mode selected now as a result you can see that the vibrancy of the character and the shading in particular has really jumped out and given quite a lot of life and some tonal variants throughout the piece now normally I would go through and create some tonal variants in the color application manually but using the Dodge and burn in this way does a little bit of that work for us and you can see if I hide and bring that back in comparison to our original it’s so much more tangible and full of life now that we’ve used the Dodge and burn in a way that really brings out the warmth and the vibrancy in our piece so number five and the last tip that I want to be sharing with you today is non-destructive editing and manipulation to add the final tweaks to your image so I’m going to select all the layers that have anything to do with my blacksmith character here whether they’re in the past and invisible or not and I’m going to right click in the layers area with all the selected and select convert to smart object and now I have one object in my layers panel with this blacksmith character but by double-clicking the smart object I can actually enter a sort of its own mini inception style Photoshop file where I can bring back the layers as I please perhaps even go to the black-and-white version of the character save and then when I go back to the original version of the Photoshop file its replaced it with the changes I’ve made and at any time before I want to tweak my smart object I simply double click on it and I can let’s say bring back the final version that I’m happy with save and then go back to my Photoshop file and there he is so I’m going to do the same thing with the background here select everything in the background convert it to a smart object obviously I have all these layers for all the other stages of the illustration that I demonstrated but because I don’t need those I’m just going to select all of them and group them and I’ll call this history hit enter and now very neatly I have a non-destructive record of all of the parts of the painting in particularly smart objects that I can go into make my tweaks and go back to my main Photoshop file another one of the non-destructive ways I can edit my piece is by using these adjustments now I have a panel here called adjustments which I have anchored in my panel here on the right which allows me to let’s say when I select brightness and contrast change the brightness and contrast of the piece but this isn’t a non-destructive way you can see that this is applied on the right here in sort of a mask style area so likewise I can select hue saturation and I can bring down the saturation maybe tweak the hue to the left or the right I’ll maybe make it negative too to make it a touch warmer and I can go back and tweak any of the changes I’ve made to any of these adjustments by clicking on them and you’ll see it pops up here let’s bring up that contrast a bit but again this is non-destructive so I can hide and bring back these changes as I wish and let’s say I prefer the saturation so I’ll bring that back maybe even ramp it up a little bit but perhaps I like the character more desaturate in the background more saturated I can actually just go in here and select my background layer and in image adjustments and hue/saturation I can bring up the saturation of the background only and here ok and you’ll notice that this has been applied to that layer non-destructively because it’s a smart object so you can see it here under that smart object hue/saturation I can double click on this and change that saturation value hit OK and it maintains the the raw object data inside this clip again if I double-click and go inside it it’s the original state that I saved it in but if I go back in here all of those non-destructive changes have been applied and the cool thing is I can also do things like filter blur and apply a Gaussian blur to the whole background and that’s non-destructive also because once again double-clicking the smart object all of the information is there but in this application the blur and the contrast and the hue/saturation is applied I’ll maybe bring the brightness down a bit too to make the character stand out a bit more kill okay I’m happy with that this method is once again something demonstrated by joash Berkeley I don’t know how to pronounce it in his course efficient texture workflows but a finished result is I have this character concept here that I’m really happy with he pops out has a bit of life and color in him and I was able to speed up and optimize my workflow and of course make it more fun and a bit more of an exploration and adventure by applying those tips and techniques that I learned from those courses that I shared with you I really hope that you enjoyed the tips and techniques that I shared with you in this video once again using the coupon code jazzy drawers you can get a huge discount and get three months on Skillshare for only 99 cents and the amount of information and professional quality resources for graphic design and illustration alone are staggering but there’s loads more one of my favorite sections of the the website is actually in business and marketing and entrepreneurship there are actually topics I find really interesting and like to listen to in the background while I paint and do things like that and you can see there are loads of topics here from film to technology fashion music gaming food and more not only is a great place to learn all of these skills but it being skill share of course is a place that you can share your expertise so you can actually sign up today to become a teacher on Skillshare and share your skills tips and techniques and get paid for the courses and subscribers that you gain through skill share look at this top teachers make up to $40,000 a year so there’s definitely potential for great growth here surrounded by really good quality stuff and people really interested in learning so I highly recommend it and there’s no time like the present to give it a go with that coupon code again three dollars for that three months and you get a really in-depth look at all of their stuff with a premium membership and see what you think thank you so much for watching ladies and gentleman once again the links to all of the videos I referenced are in the description and the working file for this Photoshop document is also for free for you to enjoy and explore the link to that is also in the description thank you for watching and until next time ladies and gentlemen I’ll see you later thanks for watching make sure to subscribe to my channel for new content every week if you want to support my work and get some goodies for yourself head over to my store for archives ebooks digital brushes video courses and more if you enjoyed this video here’s a link to another video you might like from this channel if you want even more make sure to check out all my behind-the-scenes action on my vlog channel daily Jazza draw with Jazza is proudly sponsored by Adobe join the creative cloud today and get loads of incredible creative tools like Photoshop anime Premiere Pro and other apps for your computer or mobile device that’s it for now thanks for joining the arty party and until next time I’ll see you later

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