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Sportsillust 277x400
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2.4 Adding Line-Work Shadows

Hi there. This is Simeon for Tuts+. In this lesson we're going to go onto adding the line work shadow and applying line work to the model's clothing. In the last lesson, we completed some of the model's facial features. What we're just going to have a look at is actually introducing drawing in some of the shadows. So if we look at underneath the model's neck, we see we've got very deep shadows. What we're going to do is just zoom in nice and tight. Click on to the screen's starting point. Set the opacity to zero. And just draw these flecks in. As we can see, it is now consistent, smooth, curves because there is texture from the actual clothing and this is what gives this inconsistent shape, so it's cool to convey that. So if we just literally just curve around and we've got this little line here, we're actually gonna include some of that also. That'll be pretty cool. Just on the outside we just include that line. As you see, it's very bumpy to describe it accurately. Just draw that in and cut back now. Just come around here, along this partition, we're at end point. We're just going to stop and zoom out, move our image slightly, so it's in a nice comfortable [INAUDIBLE] we just keep going along here. Now these lines are slightly smoother, so that's the edge of the football there. Now we'll just get a nice line going onto the edge of the quarterback's index finger. And same along so we are looking out for the darkest areas here. We just take a look. If we are going to go all the way along just to cut inside and do some change of work and the main dot here and definitely underneath the name. Really, we could include this all within the shadow there because it is pretty deep. And just maybe have an outer red, later on, going along outside it, below it on another layer. As we keep our layers nicely organized. So again, we're gonna do a zoom out and look the sort of different angles that the shadowing is going now. It's not a consistent color so we can do our best to convey that, which a lot of the time, I feel, gives it a better effect. So if we go along with inside here, around the outside like so, just go back there Ctrl or Cmd+Z. Zoom out a little bit. It's always a good idea to zoom out and see where we're going. Okay and we're just going to go around here. Let me zoom out. We're just literally going to just go along here so if we just click and drag within this area here, bring around now. We'll come to this point, zoom in a little bit so we can see better. And again we're gonna go along these bumpy parts on the outside of this shape here. When it gets a bit smoother, so it's not essential to be so bumpy. Just curve along with it. Right. Okay, I am actually going to stop this shape here and continue the rest of it between these ends. And we're just gonna curve around here and cut back inside. So this enables us to keep this shape as one continuous whole shape. We'll go around this part here and literally come back around and along inside and now again, it's very similar to what we had before. We'll just, as we can see, there's a slightly lighter part here. So we'll just weave inside a little bit. Come around the edge part outside here. Now go along this line. All the way up. And again. And come down here. This is one of the probably, the biggest shadows shape you'll draw, so we just continuing being disciplined to select the darkest areas. Once we've done this, we'll be in good state to complete the rest of the linework layer having already done the outlines and now the deep shadows. Okay, awesome. I'm actually going to go back and just quick move in here. Cut back around. And again we're going to be disciplined to have a look where the darkest areas are. And create some interesting shapes. Don't draw it just exactly how we see but be disciplined to create some cool inventive shapes. Especially on the inside parts. On the outer curves especially on sort of clothing, things like helmets, where the curves would be quite regimented and precise and smooth. But in the insides where there's variations in light sources hitting different areas. We could create glued, vector, interested vector shapes. Okay, so this kind of bottom of the chin guard there. Okay, and go round this area, be nice and tight here. Again these are the areas that were just nice and tight and smooth. Now clicking and dragging to a lesser scale is what we did on the helmet. Come inside here and all the way around. Just the inside here and say straight through the darkest parts. Come on up back around to the top here and then, we'll just curve along the base of the helmet, on the bottom of the helmet. I'm just gonna zoom in so we can see a little bit better. We're gonna go on and round and complete our very large shape there, okay, and set opacity to 100. Okay, awesome. So now if we have a look we can see we've got a very nice shadow shape in there, underneath the model's helmet. Okay, so let's just have a quick look at applying shadows to the model's jersey. If we have a look at this corner here. I just want to get some nice grooves because this shirt always has different grooves in it. If you look at a T-shirt, a jersey where the darker areas are so we're literally going to draw in these areas. I'm just going run through how we do it. This shape here, a few of them to give us a nice looking finish. So if we set our opacity to zero, go along the outside here, just zoom in a tad. All right, and just go along the edge. Let's come back, we'll be a little bit tighter. I'm going a little bit too much on the outside there. So what we'll do is we'll cut back actually here. And this creates some nice smooth grooves. We want to get in the shadowing of the jersey thinly along this edge and then going back up around onto the shoulder. Nice grooves again. And then we'll go along the top here. And have a look where it cuts back and again, nice smooth grooves as we go around along. So we've been very disciplined. Just get that ripple effect is the word that we're looking for, is where the shirt ripples. Nice and smooth, just keeping it consistent with that part. We've got a really smooth shape here. Along the edge of this, where you have the white embroidery. Material changes and then we come back around again, we'll actually go along here and we'll include that also, this little ripple shadow piece. This is what we say we've been disciplined to get the darkest areas. Okay, so nice and smooth. Just be in a mindset of letting the pencil flow and your application flow. I'm using a Wacom tablet but it can be easily achieved with a mouse also. All right, so we're just going to stop that shape there. I'm going to cut back around. Go over to that edge and get our circle completely out of shape. Now we're put opacity up to 100. So if we zoom out now, we can see that we've got a good ripple effect there on the shoulder. And that is how you will apply the rest of the line work to the shadow in areas. And thinly along the outlines will be the same as what we do with the helmet. Okay so, in-between this is we're actually going to complete the line work layer now. And in the next lesson we'll have a look at selecting and applying and drawing in the flesh work. I look forward to seeing you in the next lesson.

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