3.6 Thick and Thin Lines
We will be addressing the difference between thick and thin lines and focusing on how to block in our 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
3.6 Thick and Thin Lines
All right, in this section, we're gonna cover creating the outside lines. So the difference between thick and thin. So now it's time to move into the part where we start to create the outside, the outline of our illustration. And while we do this, keep in mind that the goal is to make the lines outside thicker than the lines on the inside. So we want to switch from shape back to path again. And just go outside and just start to use the tool to create the exterior of our illustration. So, we want to make sure that our lines on the outside are very strong. They don't have to be extremely thick, I guess it's going to be a style choice. This isn't about rules at this point, it's really about visually what makes sense. So, I'll make a new layer here. You can see my brush size is a little larger. But as we continue, it might, obviously I am gonna have to go bigger. So, I went back inside the line I already had. I'm gonna create a stronger line on the outside, here, pull that tangent and get a nice turn. There we go. Gonna make the brush a little bigger. And so as I make the brush bigger, I like the shape of that, I think that's good. So, let's do the same thing over here. I gonna go inside of the beard, or the goatee, and this way my line starts on the inside, even though it's not on the same layer, cuz I leave my layers open so you can see how I'm working. All right, so nice size brush. I'll make it a little smaller. There we go. And hit F6 a couple of times. So, I'm still not using my, actually F5, I'm still not using my F6 as much. Maybe that's something I'll do at the end of the project, if I feel like those lines on the outside are still fairly weak. But I'm getting the look that I need right now with the F6, so there's no need. And primarily, it's because I take my lines inside of other lines so they don't get lost or I don't have these gaps where my lines look weak. There we go. Change the direction and come back down. So I can already tell you, the thickness is going to be at the top and the thin points are going to be at the bottom. So now it's about figuring out the brush size. That's pretty thin. So, I think that'll work. It'll get us to where we wanna go. So, I'll continue to work here and get these completed. So even now, I'm not using really thick lines on the outside, but they're thicker than what's on the inside. And so, that's the difference in creating weight and depth in those things in our drawing, in our illustration. So I'm gonna go over this line again, have that inside jaw run into the ear. Figure out what brush size is gonna work. Here we go. And any time you see that pop-up, it only means that I I'm hitting F6 more than want. And I'm doing it too fast. And so Photoshop is warning me that the action's still happening and I'm hitting the F5 button or the F6 button to start the actions again. That's a nice line, I like that line on the inside. So now I'm gonna work the outside on the right. Nice cheek, cheek bone, here. So I'm gonna give it a nice solid line. And, yeah. Let's go change the anchor point. And go back into my line again. I keep saying that because if you want to have strong lines, that's gonna be important. There we go. Make my brush maybe a little bigger. Go in again. And get the very edge of the cheek. There we go. Nice, this is a good line. Let's work that ear a little bit. Zoom in and I want to start on the eyebrow in this case. Change the tangent. It's a pretty repetitive technique. But you'll find, if it's your first time, it's not as simple as it looks or as simple as it looks when I do it. I've had plenty of years to practice this. But the key to getting nice, consistent lines is to make sure that, there we go, make sure that you start inside of another line. So the ear's looking pretty good. One more stroke in here and I think we're okay with this ear. All right, so, it looks like everything is going the way it should now. Our lines are pretty consistent. I like this area here. We need to do the staples but I think we'll do the screw on the neck first. Yeah, I think we're at that point, we're gonna go ahead and solidify the design. So when we come back, what we'll do is focus on this area here, we'll finish this screw.