3.3 Adding More Details
We will use our strokes to create small line work and small details, doing the “dirty work” to set up our project for the larger detail work.
1.Introduction1 lesson, 01:37
2.Setting Up Adobe Photoshop for a Smooth Workload3 lessons, 13:52
3.Getting Started on the Artwork12 lessons, 1:25:37
4.Conclusion1 lesson, 02:04
3.3 Adding More Details
What we're gonna do in this part of the course is we're going to go inside the face and add the small details that help build the overall look of the face. Now, we gotta do the dirty work, so we wanna go in and make sure we work on the contours. There's certain things that I sort of get excited about that makes a project fun. I want to save those things. If I know I am going to spend three hours or two hours on an illustration, there are points where I say, there's going to be happy points, like the nose. That's one of the things I want to work on. The shadow underneath the nose, I'm looking forward to doing that. The hair, the stitches from the cuts, the lips, those are things that excite me in a project and probably, finally, the eyes. The other little things, I'm not so excited about, I gotta go in and do all of these little contour lines, just to get the form of the face. This is what I call the dirty work, and I wanna go in and do that and make sure that I do that well because that's the thing that holds the project together. If I don't do that right, then the project's just kind of weak. The art is weak, if I only focus on one part. I'll also bounce around throughout a project. Never want to get stuck in one area and focus on one thing. I want to make sure that collectively, I have a strong project. So take a step back, look around, I can't wait to get to the area with the stitches right here, so I wanna go ahead and jump ahead and just do this, cuz that's just what I wanna do. I wanna have a little fun doing this artwork, doing this project. This is important for an artist, to find those areas and those anchors that'll keep you locked into a project. Eventually, I'll get to add the staples too, so that's another point of excitement that I'm looking forward to. Then I go back to doing the dirty work, just getting those little lines in the areas that I think I need to place them. That helps me and guides me through everything else. Using the same technique, making sure that my brush size works, I use my bracket key just to adjust my brush very quickly. Let's go ahead over here, and just create the contour of everything else, and make sure everything's balanced. Now I'm using my sketch, there we go, nice clean lines and just move it around, and seeing all the areas that I need to add lines that look like this. Here's a good connecting point. It's figuring out where the thickness of the stroke will be, and then making sure my brush is the right size. Now, I go to the middle to determine, visually, once you do this enough, you'll understand where the thickness of the line would be. That's where I go and measure the brush, so I post here, grab my anchor point, and create the edge there. I know that the thickness is gonna be somewhere in the middle, so that's where I go. You'll see that pop-up happens, I just click OK, that means that when I'm hitting F5, F5, F5 to repeat and get a stronger stroke, if I go too fast, I'll get that error message and so will you. It's okay, it's not a big deal. Go ahead and click OK and just know I've got to slow down when I'm hitting F5 or F6 over and over again. I'm just going back and making some adjustments. I just wanna create a stronger bridge over his eyes, giving him kind of a caveman look. We zoom in, there we go and then we'll drop down and continue to add the little details that's gonna help make his face. The more you do this, the easier it gets. Without even thinking, you'll go, oh, I understand, if I place a pencil here, and if I place a point here, and place a point here, this is exactly what the line will look like. You'll notice that you'll get faster and faster, it'll probably take you a little while when you first get started. One of the things that will happen is you'll notice that you have a lot of gaps in your ink but after a while, you'll be able to see the future. Like I said earlier, you'll become clairvoyant about this. You'll know exactly where the strokes are gonna be and what adjustments you need to make. So something that maybe takes you three or four hours to do now, you'll probably be able to get done in 45 minutes after you spend enough time doing this. Here we go, that's looking pretty good. Everything's coming together well. Let's go ahead and just thicken this up a little bit and then fix this stoke here, grab that tangent and change direction. There we go, make those little adjustments there and check my brush size. I'm towards the edge, so I want to get a nice strong stroke. Let's go in and connect this a little bit. It's all about anchors and directions using your tangents to control where your strokes go. The more you do that the easier the project gets. I like to keep going inside of the lines I already have. If I'm looking at this visually, I don't know where the lines start or where they actually finish, so I like to take my Pen tool and go inside of the lines that already exist. This give us a good flow, good cohesive piece. I'm just looking around and seeing those areas that might need a little bit more. Here's that lip, I really can't wait to work on this lip and get this all together. There we go and get a nice size stroke there. That's looking good. When we come back, we'll continue to work on the face, then we'll do a little bit more with the lips. We'll go ahead and start to add some block shadows for gradients and depth to the lips and then we'll go from there.