3.8 Creating Shadows With Crosshatching
How to lay down and use your crosshatching to create shadows or comic sketch lines.
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
3.8 Creating Shadows With Crosshatching
In this part of the course, we get to go to the fun parts. We're going to take our crosshatching and lay it down, and start to implement some techniques to help us use that. So now we're getting to some of the fun parts. We're going to go ahead and use those crosshatchings we created earlier. I turn my folder on, I have them all in one folder, so that I can have easy access to them. It should help me stay semiorganized. At least enough to get through this section. The next thing I wanna do is turn my pencil layer down, and use that as a guide. So we're slowly moving to the point where we're gonna get rid of the pencil almost all together. So, I'm just gonna go ahead and start to lay these down and set up the angle that I need them in. Now, the reason why it's at an angle, we could just lay them down straight of course. We could do it that way but it tends to look too flat if we do that. So I'm gonna take a nice angle. To direction. To give it direction to my shadow in this case, and just continue to copy that layer. Just taking a look, and seeing if that's going well, and it is. Now notice, I have a lower part of the crosshatching too. So, I'm not placing everything doesn't always sit there, I didn't meant to grab that one. So let's undo that and actually I'll come back later and erase it. I actually like that. The contour it creates right there. So we'll leave that alone for now. We'll come back later and erase that. There we go and we took a step back and so, it kind of has a comic book look right now. So if you're learning this because you want to digitally ink comic books, you can see how it follows a lot of what we do traditionally, if we're illustrating comic books or concept comic books, or if we're digitally inking, or inking all together. Looks pretty similar. So, go ahead and make another copy here, and just get this corner right here. Let's move this over here. I saved this out. I think I used the original, so I wanna move that there. There we go. Let's make this a separate piece, so I won't use it again. I'll name it Master. And grab another one. And we're gonna go ahead and merge these guys into one. You can hit CTRL+E, if they're not smart objects, you can just CTRL+E. If they're smart objects, you have to rasterize them. And then you can merge them afterwards. So once again I have my shortcuts set to allow me to just hit a shortcut to turn them into smart objects. And then a shortcut into making them rasterized. So now I'm going to clean these up. And I couldn't leave a line of the shadow in the ear. We could take this into the ear, but I'm gonna do just light version of that. Not too much in the ear, but enough to give us a idea of what's there. So, I'm gonna mask it this time, because I'm not exactly sure how I want it to go. So I don't wanna erase everything. And get rid of it. So I'll just put a mask there. And just start to erase. So. I think its going, I like the direction that its going. All right, now we're just gonna erase, speed it up a little bit. Erase and clean up the areas. Could make a bigger brush, but I want to keep some type of control. And what I'm erasing are the area's where I want to show light. So I want to actually create light and darkness. There we go. So if you're new to this, you just think about the areas that will get the most light. And that's what you want to erase or hollow out. Zoom in and erase on top of the nostril really quick and there we go. Now, how you clean you want to be is up to you. So you can actually leave little traces if you like this style. It's really more about whatever your preference is, sticking to it. Hollow out the nose. We're gonna go ahead and put a full shadow there, so I wanna show a difference in levels. So, even though they're both underneath the nose, and they're both cut off from light, I wanna be able to show that there's a difference in depth. So, let's clean the edge here, where we got some bounce light. Here we go, yeah, that's looking pretty good. It's those little things like that right in the nose area that you can do to cause those separations and help out with illustration. So, I'm going to go ahead and erase here. Those are still areas where. The light should be touching and rolling. And so we come in and add our highlights on top of this it'll give us even more depth. In our shadows and on our surfaces we'll have more height. Clean off this cheek over here. And clear that ear out. Left a little dirt on the other side, and that's on purpose. I don't want it to be too clean. I may change my mind, I may go back later on and just erase it out, but. Now I'm using the shadows on the mouth to form the shape of the mouth. Now, here in the ear, I'm gonna clean that out. And I need a little more shadow in that ear, so we'll clean that up later on. The eyelid's gonna pop out, so I certainly wanna erase the shadows off of that. And the wrinkles. And so for me, this is where the project really starts to get fun. Really everything that we're doing is building up to this point. So, always try to keep these points in a project where I can really just step out and have a good time and get excited about it. And I've been waiting to do this part probably since we started. So. Let's clean off the edges here and look around. Clean the top again. Still have to deal with that eyeshadow that I moved. But I'd rather stick with the crosshatchings right now or the hatchings right now and start adding those where I want them to go. So just doing a warp, a flip, horizontal flip. And I want to add a little bit down here in the neck area then we'll come back and clean that up too. There we go copy. Make some adjustments there. So now we're past the software issues or how to and now it's just let's be artists. Let's have fun. Let's go in here and just do what we do. And what you're going to do is gonna look probably completely different from me but the goal is just to implement the technique in whatever way helps you. So you don't have to do it exactly the way I do. But I always reiterate that especially for newcomers to Photoshop or illustration, all you really want to grasp is how. How does an artist or how does the instructor do a certain thing. Then you want to take that how and implement it into your workflow and go from there. And the goal is not to duplicate what I've done. You know it I'm not the standard of art. You may have 101 other uses for this technique it's great. Good. Nothing wrong with that. As long as it helps. So I'm gonna continue to lay a little more shadow here in the neck area clean this up And I feel like this piece is coming together well. Yeah. There we go. It's nice and clean, and lean. Take a step back and look at it. Now I'm going to maybe turn that down a little bit, it's a little harsh. Or, maybe I'll come back later, and turn it down. So. Add another line here for shadows. So, I felt like it was too flat at the neck, and if we have that chin there, there should be some type of shadow happening. It gives us a little more depth, once again. Let's turn that down some. Here we go. I think this is really turning out well. Very good. That's good. All right. So, yeah. All right. I want to move to the lip area. And just to give you an example of what we can really do if we dig in certain sections. So the lip is another area I want to push, slightly. Let me find the right layer, there we go, and back, turn it up a little bit. So, I can still see through, which'll help me. Zoom in, and I wanna start to build the highlights within the lip. So, I still have the shapes on. And I'm just gonna use my tangents and use my colors. And I want a grey, I don't wanna go white. White is going to be rarely used If ever, but we're gonna take a nice grey that's similar to the background and then we'll probably go higher. We'll key it a little higher later on if we need to. And just create the contour of the shapes within the lips, back up, there we go. So we're gonna use that to tell the direction of the lip and where the light would hit. Now, technically it should be on the black line, but the way that I like to work, I wanna do it within the shape instead of outside of the shape. So just go ahead and create the creases or reverse the creases which would be raised. The raised skin or the folded skin of the lip. And take a look at that and then it's looking pretty good. Okay so when we come back we'll continue with the highlights and make sure that our character. Is becoming a little bit more 3D. All right? So let's do that in the next video.