2.5 Refining Edges Continued
We will continue to refine the edges of the painting so that silhouettes read better.
1.Introduction1 lesson, 00:57
2.Creating an Environment6 lessons, 1:26:45
2.1Line Art / Composition14:13
2.2Blocking In Colors14:46
2.3Adding Form and Lighting12:38
2.5Refining Edges Continued15:00
3.Adding Texture and Foliage2 lessons, 29:44
4.Finishing Up2 lessons, 28:38
4.1Adding Finishing Touches14:55
5.Conclusion1 lesson, 03:34
2.5 Refining Edges Continued
Okay, so let's continue here with adding some more variety and just more kind of interesting stuff to the edges here. So that's what I'm gonna keep doing here, so I'm just gonna use this brush for a little bit. If I wanna get a little bit of variety with some of the edges I can just kinda erase here a little bit, and so I'm gonna switch over to that brush back again and so, now granted I have a lot of brushes here. But that's just because when you're doing environment design, a lot of times it's easier to use a brush than to paint something by hand, so sometimes I have a lot of brushes that are kind of very used for kinda one situational thing. So, but for this, I don't wanna kind of do that cuz I want you guys to kinda understand where I'm coming from in terms of just using simple brushes to kind of explain certain ideas here. So we're not gonna get too much into crazy custom brushes because you don't really need to. If you have the time then go. Do what you wanna do. So wha' I'm gonna do actually is I'm actually gonna change this here at the top of the call dynamics. And I'm gonna add a little bit of a hue saturation jitter, just a tad bit and I'm gonna do that to apply per tips. What that's gonna do is it's gonna actually change the colors every time I make a stroke. And that's gonna be really, really good for getting a little more color variety in my painting, so it's kinda what I want here. So you're gonna kinda see me make some of these little notches, little changes here and let's see if we can kind of add a little bit more here as well. And we'll definitely kind of refine this so we just want the edges to kind of not be so just exact. So you'll see me kinda switch between the transparency, and then not using the transparency. And that's exactly why. Just because I want there to be, I wanna be able to kind of turn things off when I need it and then turn things on. Or turn things off when I don't need it and turn things on when I do need it. So sometimes I'll turn something off, right, like the transparency so I can add more to the shape. But then when I wanna make sure that I get in there correctly, then I'll turn it back on and then that way I don't have to worry about painting outside the value range. So that's kinda what I'm doing here. So, right, you see all these little values here? That's what I'm talking about. That's where things are gonna get interesting. And then after we get all this stuff established, we can start having a talk about color. And texture, a little bit more about texture, I would say, more so than color. And we could start kinda figuring out what we're gonna do, how we're gonna approach it. And there really is no right or wrong way to kind of establish texture. I think at that point it's just more so like, your personal taste, and so I'll show you some ways that I like to approach it. Pretty simple, it will be kinda destructive in a little bit way. But I kind of like it that way too, because it kind of helps keep that painterly feel, so we're going to keep going with that. So I think here, I'm gonna want this to be a little bit more, I want this all to be dark for the most part. I don't want any light values here, so that way compositionally, we kinda just focus on this foreground area. So I'm hoping that this will kind of, this whole little warm to cool thing will make it a little bit easier for me. So I'm just gonna use a regular brush here, cuz it gets kinda laggy sometimes when you're working on a high resolution image. And so I don't wanna deal with that if it all possible, so I'm just gonna do this, right? So we're just gonna block all that in. So that's gonna make my job a little bit easier here. So, and the more I'm looking at it, the more I'm kinda seeing some issues. Especially with like this kind of stuff, so I'm just gonna kinda try to fix some of those compositional things that I see. And [COUGH] I still have the original layer. So I don't have to worry about some things. So I can kinda add some stuff. But I think I definitely want to kind of cut this little piece off like, right here in terms of the shadow. So that way I just have more to work with in terms of the light. So you can kinda see that decision I'm making right here. Which is kind of important here cuz I wanna paint stuff, but it needs to feel interesting. So, let's actually go back in here and let's add those values in. So, and at some point, because I'm switching back and forth so much to the light layer and then the dark layer. There may come a point where I just merge it all together, just cuz it might be a little bit easier. So let's kinda watch out for that, cuz that might happen sooner rather than later. And that's kind of a choice that I have to make whether I think that it's hindering my creative process. And if I feel like it is, then I have to kind of make that decision now, so I don't worry about it. Okay, so here we're kind of, I'm just kind of erasing in certain little areas here. And then I'll go back in and I'll block them a little bit. And this is kind of nice cuz now you can kinda add some irregularities. So I'm just using a lasso tool here to kind of, I have little stones and stuff, all those kind of things. If I really wanna be quick about it, which I kinda do, I could just use my shape tools, because in my shape tools, I do have some little stones here that I can place and those will serve as little ways break up the kind of squareness of the image, and that's always a good sign too. So you can do some stuff like that. So I'm just gonna kinda fix some of these edges here. I'm just gonna keep refining here. And this is kind of important, because this stuff has to be kind of exact. It just makes me feel better about the situation if I don't have to worry about those things. So I shouldn't have zoomed in, I kinda made a mistake there zooming in, but we'll live with it. And let's go back to one of these brushes here. And let's just see what we can do with some of these lines. I think some of these lines could be a little bit more dynamic. And I think what we're gonna do too is we're gonna extend the canvas a little bit here. And I want this to be a little bit wider. So what we're gonna do is I'm gonna put all this in a group here, like so. Right there, and I want this guy to be a little bit more of a wider shot. Just cuz I feel like it would add a little bit more dynamicness to it. So there we go. So that's all we did. I feel like I'm gonna have a little more freedom to kinda work with here, and that's kinda what I want. So there you go. I'll wash out some of these textures a little bit here and I think we're in a good spot that we can start maybe looking at handling that foliage. And, getting some of that stuff in the trees and stuff, and what not. So we can definitely do some cool things like that. I think here we could definitely, maybe make some more interesting choices in terms of perspective and getting some of these round edges here is kind of important just because everything is so blocky, cuz it's kinda like that kind of like that. That ruins kinda feel where they just make blocks and stuff, so we kinda wanna break that up just a tad bit if at all possible. So I'm gonna hit the Color Dynamics here a little bit, let that shift kind of work through a little bit through color and hue. And that's gonna be nice as well. If it all possible if I wanna take off the transfer, that's also a good idea too. Just so you get a little bit more of just a flat tone. And that can always be nice as well. So I don't wanna noodle here too much but you definitely wanna go for, you wanna make it right. So I mean, when you guys are at home, you have a little bit time at home, you can really take your time here and really make this thing look amazing. But obviously I don't have that kind of time. So I have to kind of make it a little bit more, kind of sound choices here if it all possible. And let's actually go in here and kind of blend out some of the stuff right here in the background because that was looking cool but then the texture of it, it's not interesting enough to me, so I'm gonna go in here. I'm gonna get this kind of this painterly brush and that's gonna help blend some of these values out. Yeah. And that's gonna help kind of break things down a little bit. I'm gonna go flick a little bit more of a saturated color, saturated blue. So this will kind of help us get a little bit more of a texture. This is gonna help us break up that feel. So we're gonna go from there. All right, now let's see if we can kind of work our way into texture soon. So, you definitely wanna have a little bit more of kind of like a purplish tone in there a little bit. So let's see if we can get some of that in there. And so now I'm kind of adding a little bit more of kind of a painterly kind of feel to it. And you know what would be cool actually? If there was some kind of like water element, kind of like going across here. I think that would be pretty awesome. So, let's see if we can make that happen. This may not, this may not work. This may just freaking fall on my face. But maybe not. Just kind of erasing here to kinda get some of that texture. But maybe, hey, maybe that does work. There you go. So I'm just kind of painting in these little bits of water. So I imagine water would kind of do that. If I get kind of unconfident about it, I will have to be forced to go and grab some reference. But I think overall that's communicated pretty well, so we'll definitely kind of leave that as is. And then maybe the sky is obviously being hit by something on top. And that's cool too because we could definitely take some of these values here and kind of, I'll lock the transparency of course. And we'll kind of take some of the stuff right here, and we'll just kind of do something like that. Maybe we can make this color a little bit darker, just so it shows up a little bit more. This will kinda help with the contrast, so that's kind of a little bit of a game time decision there. And let's kinda switch to a brush that just has a little bit more of a texture to it, so we will kinda get to texture in a little bit, but I think for now I just wanna kinda just look at that, just so it kinda looks interesting to me. And this will kind of help me, kind of separate the values of the water, so. In a sense with painting the water I kinda created other problem, but that's okay. Because you don't wanna be afraid of making these kind of decisions because you're afraid of the problems that come with it. I think as long as you consider it, it's fine. So, in that regard, I don't mind. Cuz it could be worth it, so at that point, I'm like, okay, I gotta make a decision. Like, is this kind of worth going for? And I think so. I think this would be kind of cool. I'm just trying to get a little bit of that roundness to it a little bit. So I'm kind of noodling here a little bit cuz I really wanna get that roundness. But sometimes my heavy hand will not let me. Okay, I think that's, I think we've done enough here. So if the light is coming from that side this stuff should be a little bit darker. So I'm gonna kinda go in here and maybe add a little bit more of a darker tone. Yeah. And then, then we can play with that warm and cool again by just grabbing a little bit of that tone in there and just kind of dragging it up. So that's kinda cool and then we can kinda go back in here and see if we can kind of add, let's kinda just use the blending brush tool here. Now let's see if we can add a little bit of a lighter value in terms of the water, a little bit of like sprinkley, a little spritz kind of stuff. So that's kinda what I'm going for here. And I think maybe what we can do as well is add a little bit of a haze in front of everything. So I'm gonna do as well is to grab a little bit of like atmosphere brush and we're just gonna throw that in front of it. So I'm just gonna grab this brush and a little bit, so that will kind of help separate some things in the background, and we can kinda lower that and lower the opacity, and so. Okay, so we're good there. Let's keep going, I think we're gonna focus on the trees next and kinda get the foliage to kinda blend in. And then we'll see where we go from there. I think we'll have to do another pass of rendering as well with the texture, okay? All right guys, see you there.