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3.11 Building the Highlights of the Hair

Now we're gonna start to create the highlights of the hair by using our pen tool and our path shapes. Let's get started. Now we're at the highlight of the project. Let's start to build the highlights of the hair. So I'm gonna make a new folder, and we'll stay within that. So, you can see my layers are crazy and unorganized, but that's okay, I can always work that way as long as I don't have to give it to a client, and I'm only producing the final piece. So, I work both ways. I work chaotic, and I work in a organizational way when necessary. So, I'm just creating shapes of the hair, and it'll be lighter than the black. But in this case, I'm trying to illustrate, I'm trying to show grays. So, I want my Frankenstein to be aged. He's a little bit older, he's got a little more personality. And, in the Bride of Frankenstein, if you're familiar with that. His bride has these grey streaks, these thunderbolts in her hair. So, I wanna be able to tie him into her, so, design wise, they have something in common. Something that ties them together. So I'm just using my pen tool, and I'm creating shapes. That already filled with the right color. I keep taking a step back, because I wanna make sure that it looks good as a whole. So, we go macro to micro. And I never really get close unless it's a small detail. So, as we're adding these smaller details, you'll see me zoom in a little bit more. But for the most part, we're okay. Let's go ahead and start to create this side graze. Oh let's do the highlights here from the screw first. So I'm just gonna take that and create, a shape of color here, give me a little more depth. There we go. Now, I'm actually breaking a few of the rules on how light would actually hit this, but that's okay. Illustration wise, I think I get the point across. So we're good. And, I'm gonna work this area of the hair. So I want to start off with just a shape, and I'm gonna build from here. You know I never want to go 100 white or 100 grey. I want to turn it down, so I always have a place to climb upwards. That's going to be key. There we go. Using the background shapes to help create depth. The lighter something is. The closer it is to the light source. So now I'm gonna use the Pen Tool again, but we're gonna drop down and use the second one. We got that error message as I was still on a symbol. I was still using a path layer, so I have to switch and just go to a natural layer, a regular layer, and now I can just go ahead and create those wisps. I hit F5, getting nice feathers. Those strands of hair that are popping off. There we go. Create some here, and I'm going a little brighter than what I had it originally just to show more depth, and you'll see that I'm hitting F6 more than once to build up on the color. Yeah, and this is the fun stuff. This is where we get to have fun, and really push our artwork, and not be so mechanic, and worry about the technique as much, and start to worry about having fun and focus on making some nice artwork. And the sooner you get comfortable, the sooner you get to that place, the more you'll start to enjoy your work. Once you have an idea of techniques, then you get to, now you understand the software, you understand Photoshop, or whatever program that you're using, that allows you to step back and just be a creative. And the goal is always to be a creative. Because if you're a creative, if you're a strong artist, I could give you a cardboard, and a razor blade, and some markers, and you'd come up with something pretty dope. So, one of the things I'll leave you with throughout this course, is when you walk away, always remember that software just is that. It's software. Anybody can use to use software. Using software creatively is where your success lies. So, keep that in mind whenever you're learning. Whenever you're working. Is that you're gonna get hired, or people are gonna enjoy your work based on your creative output. Not on your techniques or how well you know the program. Oftentimes, people who know programs the best. Aren't the best artist. Or aren't the best at using a program. They just understand the technicalities. You wanna be able to, the tools that you understand, use them for your advantage and your stylization and you'll be pretty happy. So, the reason why, if you see, I just climbed up the ladder with the white. The grays I went a little higher, this allows me to create even more depth. There we go. Just gonna go over here and get a couple wisps here. And right here, with that beard, see any other areas that may need it. It's looking pretty good. Checking the nose. I wanna do a little bounce light underneath, so let's go a little lower here. Go back to my original pen tool. First, let's go ahead and create the shadow for the nostril. There we go. I promised you guys earlier, we could come back to this part, so here we go. Let's do it on the other side also. Let's turn that down a little bit. And it's still pretty light. It's fairly light to be such a dark camera. So. We'll see. And I just want to work those eyelashes to give it a little bit more of a separation in the eyes and in the eye folds. And I got that error message again because I don't have a first layer, there we go. So now I have a first layer, I'm gonna go darker. And, there we go. Nice eyelashes. Here we go. And this is coming out really well. Nice contrast in my work. You can see the values, and the hues just using grays. No full blacks, no full whites. Just clean this edge up, bring a little more light here. That's a little too much, let's undo it. And there, let's grab this, and get that tangent turning a little earlier and now we'll go back, and add an extra point. That's a little better. Scroll all the way out here and cover that edge. Show the light running around the shape of the eye. Just take a look here. Just gonna make a few more lighter highlights. The nose right here on the edge of the nose. So I'm gonna use a eclipse tool. The symbol and I'm just gonna take that there and put it on the highest point. Let's go ahead and drop them all over. I'm just copying and placing. On areas where, I would say okay, here's where the light's gonna hit. Here, turn that one down a little bit cuz it's lower. Right here on the chin, chin area, there we go. Those are looking pretty good. Right here on the lip. Right here on the edge. And what I'm gonna do is. I'm gonna just either leave this as a solid layer by itself. Or I'll gauge and blur it. So you can handle that however you want. Whatever style you think works for you. That's what I would tell you to do in that case. But for me. Just gonna take all of those guys. Put them on a layer. Those highlights, I'm gonna gauge and border them. And turn them down a little bit. It will give me nice, soft, specular highlights. So the next video, what we'll do is continue with our process, and we'll continue to add details as we get closer to final polish.

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