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3.10 Creating Highlights

Here we're going to talk about creating highlights. The highlights will be used to create depth in our illustration. Okay, so let's move to the area where we start to create the highlights. You can already see there's a little bit of a color disparency in between the cheek and we're going to use that. So first thing I do is select a similar color. Go a little bit lighter. Then I take my pen tool. So, I switch back to Shape. And I'm just going to start somewhere in here and kind of figure out where I want the light to hit, and roll. And work from there. So, zoom in a little bit. Here we go. And and just start to use my pen tool and click and create the shapes. And also you can see that I'm leaving little areas where my shapes dip in. That's going to help create the contrast. An illusion of muscle. Or some type of flesh, right? So, when we have muscles, if you ever think about the shoulder muscles, they have those deep creases. If you lift your shoulder up, you'll feel those creases. That's what I'm actually trying to illustrate when I do this. Now, because of my Pen tool, because I wasn't on the right layer, I have to go ahead and we're going to Make Selection, it's another way of doing it. And I'm going to leave a Feather Radius at zero. Click OK. And now I have a selection. So you can use this technique also. And then I'm just going to go ahead and fill the selected area. This works just as well. Just backing up and, it's a little heavy, it's a little light to start off. So I can turn the layer down or I can change the color. It's really up to me. So let me just organize this folder really quick and drop that in. This was my highlight folder. And now I'm going to switch to my actual shape. So we zoom in, this is a good area to work. Switch to my pen tool again and now let's, there we go, now we have our shapes. And you can do either way, there is no right or wrong. I just like the shapes, it's a little quicker. And when turning opacity down just to see through, I can also say, make a decision. Is this the right color, or will I have to turn it up, or should I fill it with a brighter white? But I think we're okay. Now, the goal of this is to find all of the areas that the light would roll off and make those my highlights. So clearly if the skin were to indent, or the cut were to indent, you wouldn't have light inside. So I want to get rid of that, there we go. And just continue to work the outside. And a good exercise you can do to understand this better is just simply draw a pole. So you start off with a rectangle marquee. And you fill the rectangle marquee with a basic color like black. Then what I want you to do is when you do that, start to build outwards, meaning you take the rectangle marquee tool again. And you fill it. And then this time you scale it down. And so you go from black to gray to white. You can start off with three colors. Or you can start off with 5 or 6 colors. Go from black to white. Or you can go to 32. 32 different grays that gets you to white. The more you add, the more in depth your illustration will become, just on a poll. You do the exact same thing here. You just use, maybe this color to help with the highlights and maybe one other brighter color, and by brighter color, of course I mean grays from blacks, grays to whites. We don't actually want to use color per se. So here's a highlight here, and right here in these creases I want to go ahead and create highlights. Just the area to show that it's higher than anything else. Right here in this crease. And the rest should be in shadow so I can leave that alone and move over to this side here. Great. Nice shape there. Now we're moving fairly quickly. So we're at the part where we're having fun. We should be. Everything should be coming to life. You should be able to see an illustration popping off the page, no longer flat. And you started off from a sketch. And so, now it's becoming 3 dimensional. Let's work this nose area. I really like this nose. This is highlight central. So I'm going to take advantage of that. And every place that's going to be the high point I want to make sure that I get the light there. And, let's do the other side. There we go, and not taking it all the way down either. Just the curves, the top of the curves, pretending that light is bouncing. Let's do this lip over here. There we go. Then I get the cheek area doing the same thing. Inside of the cheek. Another area where the light would roll. And if you're a strong artist and you illustrate, these things will be second nature to you. You won't even have to think about it. But if you're new to this kind of thing just think about, the highest area gets the most light. Make sure that the light rolls over the form of whatever shape you're dealing with. So, if the shape is round, then you should have a round light shape to support it. If it's flat, then you want to keep nice angular shapes to support that. There we go. And let's just turn that down a little bit. Then I can go in and create the creases of the lips if necessary, but I think this is good. Let's go in and create little light pockets, to show higher surfaces, right here on the cheek, or the chin area here. So, there we go. It's a good shape. And just really creating a shape. I don't want to go in to too much detail. I just want to get nice, clean shapes. Thinking about this area here. The neck. So, we're moving pretty fast. We're getting the shapes that we want. Everything's looking pretty good. And when we come back, what we're going to do is start to focus on the highlights, on the highlighted areas to solidify our piece as we move toward final.

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