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2.2 Blocking In Colors

Now that we have the line drawing in a good place, we can now discuss how we can approach color and blocking it into our painting.

2.2 Blocking In Colors

Okay, so we just kinda got the line art kind of in a good spot. We're gonna kinda refine it, but we'll probably do that as we kind of, you know, go with the color. So what I'm gonna do is I'm gonna merge all the stuff down. Real quickly so we have that, we'll flip it a little bit and we'll see if we need to kind of refine certain things so I'm kind of already looking at it we could probably refine this line so it goes a little bit more outward, otherwise it's gonna feel a little bit weird here. And we're just gonna keep, we're gonna keep going here. We're gonna keep kind of working our way through this and, and sometimes there isn't much of a explanation for this. It's more so kinda, kinda painting by feel which will kind of happen the more you do it. You kinda want to get that mileage in. But I think for now we're gonna leave this alone in terms of the composition. I think at this point, I think it's better off if If we just kinda start getting into some of the blocking and the values and the color, and start doing that, I think that will probably be a better situation for us. If we do that kind of stuff. So, as it comes through, you know, if I do make changes, in terms of the composition, I will definitely let you know. But I think for right now, I think we're pretty set on this guy in terms of what I'm seeing. So let's get right into it. In terms of color, what I do is I have swatches available and I save a bunch of swatches whenever I'm taking photos and stuff like that. So that way I don't have to worry, I don't really have to worry about picking colors because the colors are kind of already chosen for me. So before we begin let's actually set this out as composition. And let's just set this out as line art just have good housekeeping of course. So back to colors I kinda like to find photos that I like. So I usually like to take my own photography and then extract a color palette out of it. So I'm gonna show you how to do that just in case you guys do not know how to do that. So here's a photo of outside of my apartment, very very nice. Don't mind that it's actually Kevin, we're doing some oil paintings outside. It's a good way to practice color, if you are interested in color. Usually about once a week I go outside my apartment, or outside by the water and me and my friends, my colleagues, we'll do some oil painting and it helps you understand color a little better. Just because you have to mix in the colors all the time. And you don't really have, there isn't much leeway when it comes to making mistakes. So if I make mistakes with color, it'll be very, very apparent traditionally as opposed to digitally where you have unlimited color. So you have to learn how to mix the colors, you have to learn how to see things, and I think with traditional painting too, it helps you kind of breakdown complex things into simple shapes. And this is kind of where I'm getting this from a little bit is when I paint traditionally. When I look at stuff like this, I kinda draw them with a brush and it helps me kinda break down the values, and break down where the color is, and break down, you know, where the warm and cool tones are. So I'm just kinda letting you know, this is kind of where that is coming from. So, when I do this let's say you have a photo from your phone, from a painting, or something that you've seen that you like the colors. And you wanna kinda use it a little bit. What you can do is you can go to Image Mode and go to Color Table. So we'll click on that, and look at that, nothing happens, right? So that's kinda weird. Why can't I do that? Well, it's because you have to go to Index Color first, so just to kinda let you know, the end game is to get to this guy right here but we have to go to Index Color first to activate that. It's a very weird thing, I'm not sure why they do that, but just to let you know. So if you look at this let's put in here. What it's gonna do, by default, it's gonna say whatever number you put here, it's going to extract that many colors in order to make the painting. So, if I put five here, and I hit okay, what it's gonna say, it's gonna say okay, with five colors, we're gonna make this entire painting. So it kinda goes black and white. It's kinda looks a little bit weird. If I go up to 15 colors Right. You can see it's little bit more green but we're not getting any warm tones. If I have up to 20 colors you can see the warm tones are coming back and let's go to maybe 50 we're slowly kinda getting there, so the highest you can go is 256, actually. So when I actually hit OK, you're gonna notice that it becomes very, very pixelated. That's because there isn't much of a gradient anymore because it's literally saying With these 256 colors we're gonna make this photo right here which is awesome. So you can actually simplify paintings too by doing this as well. So you can see how grainy these colors get. But that's okay you want that. So what actually happens is when you go to it, now the Color Table is now there, right. And so we can click on that guy and look what happens. It actually takes all of those color palettes, it takes all the colors from that photo and it puts it in a nice palette for me. And from there, you can save it out. And so let's just save, real quickly. We'll save it right here, and we'll just call it test_color_pallette. Okay? I think I spelled that right, I think it's two l's and two t's, eh, I'll look it up later. We're here to draw, not spell, right? Okay, so hit OK. And so if I want to load that file up, I would wanna go here and I wanna say Replace swatches or load swatches. You can do replace, but we'll just load them up for the mean time. And what would happen is, you would go to that, to that part, wherever it is. So, I have to kind of go to that folder where I saved it. And if you look for it, it's not going to be there. The reason why is you have to turn it to an ACT file. So by default, I don't know why Photoshop does this It makes it, it'll make it a ACO file so it won't show up, all right. And so you're like, well where the heck is that? That's not, that's weird, right. So you gotta switch it to a ACT file and it'll show up and then you click on that and then it will load up your color swatches. So that's kinda how it works. So just to kinda give you an idea. So, now that we have that, we have some color pallets here and I'm gonna talk a little bit about color theory as we go. But for right now, I just wanna to do kind of an initial block in here. So I'm gonna call this block in. And so, I was kind of pick a cooler, a cool value, something like that. Maybe, something like that, would be nice. Okay, so we'll do something like, and what I wanna do is, I wanna probably get like a brush, that's pretty opaque. So I don't have to worry about missing pixels. Sometimes you don't paint a 100% opacity. And then the background kind of gets in the way here. So that's we're gonna do so, we're gonna go in here. We're just gonna fill it in as best as possible. You don't need to be exact, but I will try to be. And we're just gonna try to fill this guy in as best as possible. Okay? And it will feel very polygonal, it will feel kind of boring but don't worry we will kinda refine these edges as we go. But again, just like when I paint traditionally I wanna try to make it as simple and simple as possible alright. Simpler the better okay? Cause it's easy to kind of add something, Gonna take away, so I'd rather start off simple and then we can add stuff to it if we need be. Cuz if we start off too complex, it might overwhelm us here and we don't want that, especially if you're a beginner here, right? If you're watching this video, chances are you're taking on some ideas and you want to be a little bit more efficient and you don't want to make some mistakes. The best thing I can tell you is take your time, okay. Don't rush through it. I know you kind of look at some of these speed paint videos and stuff like that and you see them painting fast and doing all these kind of crazy dynamic things. The reason why they're able to do that is because they've done stuff like this millions of times. So now when they paint, they kind of skip this step. So we're not gonna skip any steps. I'm gonna show you exactly how I think about it. But when I'm under the gun, I kind of skip some alignment steps and I just begin painting. But it's important to show you, so at least you know the underlying, you know, function behind, you know, why we're doing certain things here. So, we're just gonna do as much as we can here, and begin to block this bad boy in. So let's do this. Cool. So I think here we'll definitely will separate some things. So we'll probably get a lighter value. Now the colors don't really matter at this point. I just want to use the colors from the piece, just because it's gonna help you visualize a little bit better. So that's kind of what I'm doing here. So nothing crazy. And again it's very very exact. It almost feels very, very graphic. I'm doing that on purpose because we can go on with brushes later, and we can kind of add textures we can kind of you know make changes to it. It terms of kinda breaking it up and making it feel, you know, interesting. So for now, just kinda bear with me here, things will feel kind of like a two bit, like a 16 bit video game, but that's very much on purpose because this helps me kind of think about it, then it helps me kind of add a little more detail as we being to go. And you know, if I want to, I can add a little bit of variety to the edges and stuff like that right now just to kinda show you what that would possibly look like, but you know, we're not gonna get too much into that. I don't wanna overwhelm you guys here. So if your wondering how I'm kinda getting those, like how its kinda shooting down and across, I'm just hitting shift and if I hold on to the brush, I make a brush stroke, hold down shift, press again, it will kind of make that for me. So just kind of keep that in mind, okay. So, okay I think we're good here. I'm not sure if I want something going across or not, but I think for now we'll just kind of have it go like that. I think that that would be fine. And let's put something in front of that guy. And I think this is where we're gonna make a very conscious decision to put something that would be a very different color. You know what I mean? And then that's gonna be something we're gonna look at and so I just let use the marquee tool, you know all backspace to kinda fill that guy in. And there you go, so you see like how it started that really kinda come together here. Right? And we're just kinda blocking it in but this is really, really important. And I don't want you guys to kinda skip out on this because, if you take your time and build up your painting correctly, it'll make it easier to make changes. And it will make it easier for your clients to see it, and they'll be able to understand it a lot easier too. They won't kinda freak out. When you just go from one step to a fully rendered painting. you don't want to do that. You want to have some game plan. Some kind of process going in. And this will help you develop that. Now the background is a little bit boring. So let's just change that background color to something maybe blue. That's my favorite color so we'll do that. And I may even add a little bit of light to that just in case. And so I'm just gonna kind of take in some of these warm tones here that kind of simulate sun, the sun hitting something. So, maybe it could be water, I don't really know. But we'll just kinda get some of these warm tones in there and that will be kind of interesting so let's keep doing that. Let's keep kind of working through that and keep kinda blocking some of those colors in. And I think we're good, so that will kind of simulate a little bit darker. And at any point in time if I think this color's not gonna work and I don't see any colors in here that will work I have no problem going back to my color palette and kind of adjusting here. So just like the sketch right here we're not married to everything, we're not married to any of the colors as well. We can make changes, you know, it's just kind of a guide. And that's kinda what I want you guys to kinda remember here is that all this stuff is a guide and at any point in time, if you feel something or if you think something's cool go for it. Don't think that you can't do it because, I already had this composition figured out. Again, without that composition that you did before hand you probably wouldn't have come to that idea. You probably would have come to this idea first and that's as far you would go. So that's kinda why I The cool part about doing all these thumbnails is it just helps you kind of further out some of your ideas, okay? And I think we will kind of stop it right here, I think, cuz we don't wanna go over too far. And I think the next phase that we'll do is we'll probably add a little bit of line variation, we'll turn off the line art just to see how that's working out. I think what we'll do is we'll get a little bit of lighting going here, figure out some of these pieces and then we'll try to see how far we can get in terms of. We separated the layers so we're good on that, but I want to see how far we can go in terms of kind of fixing up the edges, and then also kind of playing in some of the lights and darks, we can start to add form. So right now we have some flat color, but now you want to get into the form which is the fun stuff, okay, and that's the part where we kind of take these things and now make them very, very, very, very interesting, okay? So actually I think before we do that too let's actually add the foliage. I didn't do that and let's just grab a green color really quickly. We'll kind of just block that in. And this will, don't pen a line art that's a bad Calin, just make sure you paint on the right layer. If you ever do that what you can do is you can kind of lock the line art layer, with this button right here, and then if you begin to even think about touching on it on accident, that won't happen to you. So we're going to kind of block some of this stuff in. This is Important too, because that contrast is what we need to see right here. And we can always erase and which we'll probably do later on. So I'm not really too worried about it. I just need to know that I put it in there so I don't forget. I put the liner in there for a reason so we definitely need to have that. So, cool, I will save this guy out as well as a different file so you guys can follow along if you like. But hopefully you are doing this on your own. I definitely encourage you to try your own, try your own composition and kind of just follow along. Hopefully this will kind of just give you the inspiration you need to attempt this stuff by yourself. Okay. So we're gonna save it right here and then we're gonna to the phase and it's gonna be kind of be adding some form of some values. Some lighting. And then refining some of the edges in the composition. Then we'll just keep going until we've rendered this guy out. Alright guys I'll see you in the next video. Peace out.

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