Digital Painting Techniques – Photoshop Tutorial – Narrated by RAM

hey what's going on everybody rob Marzullo here from ram studio comics I've got another video today for you and it's going to be let's see what do you want to call this digital painting 101 or something like that what I'm going to do is show you how I go about doing a little bit of digital painting keep in mind I'm no you know expert here I just like to do it I mean I am a working professional but I don't consider myself the greatest guy with digital paints let's say 9 by 16 that's a little bit big switch to 300 dpi a 9 by 16 that's why it's green format grayscale then we'll switch the color when we start applying color kind of helps you move a little bit faster via as I was saying I don't feel that I'm the greatest guy at this stuff I like to think I'm decent but I don't I don't think I'm you know amazing like some of the guys you see on here but what I what I hope to do in this video is to give you a little bit more insight personal off of a create a new layer and I'm going to kind of sketch out what I'm going to draw here or paint so I'll give myself kind of this rough sketch to work from you know I'll either do let's see I'll do like a loose sketch and then start adding shading over top or I'll just start going right to a digital paint effect but I like doing it on a layer so I can edit it a little bit easier and move it around quicker and stuff like that so so first off what I want to explain to you is kind of the way that I do it so I'm going to try to do both as I as I progress through here so first off on the brush itself I have it to transfer pen pressure pen pressure with no shape dynamics on the one that I've been used to paint so any brush that I go to use use the paint see this is kind of the chalk brush so if I apply more pressure it becomes darker if i soften up and pull back it becomes very but no shape dynamics so the idea is that when you're painting you're relying more on the overlapping effect to get your your tonal values you don't want these little points at the end it's going to throw it kind of a conflicting texture in there and then I'm going to show you how to you know set up your smudge brush and stuff like that so first off I just wanted to explain it to you the setting of just having transfer on this is a brush that comes with Photoshop there's nothing special to it another one that I like to use is similar to it hard wrong marker no shape dynamics you see I named it that way and this is simply the same thing you know but it's just the hard round and anybody that's good at this stuff will tell you it's not so much the brushes it's just this little bit of setting that you see in there but it's the way that you use them so I just want to show you that and we'll go ahead and get started so now for my initial sketch I will use the same settings I've got one that I set up and I call it sketch marker it's the same identical brush but I have shape dynamics on so now I can get more of a you know pencil feel or marker feel whatever so okay so let's get started Huggle and loosely sketch in this isn't going to be a real advanced drawing because i do want to explain the process as I do it so just kind of show you how you know how I go about doing something like this just kind of sketch an eye here plus it'll kind of show you how quick you can really come up with something I mean I'm not insanely fast at this but you know it doesn't take long once you get your initial line work down that you like you can move relatively fast through this so I know usually turn this down just a little bit so that not painting completely dark you kind of feel out the the form by slowly adding shadow and building up so again this would be more of the sketch so that's the tough part is I almost want to go right to painting when I do this stuff so so yeah let me let me do this more in the drawn fashion see and I have kind of a conflicting effect when I do these because I I came up more as a pencil sketch artist kind of thing and then now I'm trying to learn and study digital painting more so it kind of conflicts a little bit because painting is more like using various styles of brushes and textures to build up and create something with very little drawing and I came for more of the background of comic Association where I was doing a lot more just drawing pen and ink very line structured type work so it's kind of just a little bit different way you know to create something so you got to retrain your your mind to like limit it you know some things and adapt other perspectives so I'm just trying to make sure you get those eyes even it's probably the most difficult part to get just right you know as far as the perspective lining up both eyes getting you know getting the shapes just right then then to proceed forward or to be able to proceed forward so another good thing to do is is always kind of change the sides I can kind of interactively zoom in and out so you want to do that and then always flip it back and forth oh yeah what's weird I thought oh also deleted my layer there let me fix that I know I put a layer in there goodness okay anyways I just want the ability to resize it so turn it if I have to stuff like that it's one things I like most about working digitally because you can just mix it around oh yeah and flip it flip it and usually you can see any flaws there I kind of see the flaw I guess to the top of the eye right here I want to fix that and then now the other eye looks higher so so that's just a little trick to see any flaws that might pop up in there yeah the eye as higher I'm starting to see it so I'll take that and I believe just rotate that and move it down a little bit okay I think the nose is a little bit large but we'll balance that out as we as we go to paint so let me just keep progressing through this and one thing I like about digital painting is you can fix a lot of things on the fly so as long as you you know kind of recognize and make note of what you're you know seeing it doesn't sit well with you you can you can keep adjusting them in and fixing them I think I want this high to be more slide it down with this you you and bottom lips always a bit thicker top lip should be thinner both should be in shadow but the top one should obviously be more in shadow so I usually block that in like that and then I'll come back and hit that one and that one together or you know whatever but just always making sure that top one little bit darker that the sides are a little bit darker and that rounds out the form let's see I need to get this shaded in like the other eye always dark and around the eyes because a lot of women generally wear makeup specially for beauty shots so when I kind of darken around the eyes whether it be like some mascara and some coloring but again I'm jumping the gun again I just get so quick to want to hurt him start throwing in some tones but I still need to sketch out the rest of the form just because there's still a little bit of flaws and actually I don't know why I have a soft eraser I can't stand the soft eraser so hard round to paint marker brush for the eraser okay so let's get the chin there make the chin roll subtle I think the cheek here cheek is definitely not sitting well with me where's my opacity turn that sucker all the way up yeah this face is looking more comic book II know it's not really word but get my gist there it's kind of more animated I tend to always make the eyes too big and I know I did that here but I'm gonna I'm gonna really do some cool eyelashes on this one so I'm going to leave the eyes big but that's uh that's just kind of like one of my want to call it a problem I mean I guess it is as far as doing realism but I like it you know I like the look of it but I definitely see that here where they're they're too large but I think it's going to work on this one so I'm going to keep progressing forward with it let's see the jaw line come back like this the ear would sit higher than the eyes at this angle I kind of do the old hair shape there here's how all these weird little bins one of the things that I've been doing lately that I find is a easy way to to divine a ear is a shadow here a shadow here and then this form comes out a shadow in here and I just start looking for the shadow someplace and real fast and I don't know it just helps later on with with making the ear look right because there's a lot of little complex curves in the air and then the neck now to bend like this the neck I always picture the neck coming right from the middle of the chin almost maybe a little bit further back than that and I picture the neck doing a salt small slight slope at the base like that almost depending on you know whatever curve you know so if the shoulders here in front still happens and if the clavicles were up front like this it would still happen but you can do that soft little bend and if you want to make her look more animated even a thinner neck that's probably a little bit thin right there yeah so this is more in digital painting not the structure of everything I just want to explain as much as I can and make this as informative as possible okay so now I'm going to go and scale this down a bit – all right here so I can put it in that's probably all the detail I'm going to add I'll do a little bit more with the hair actually let me throw a little bit more of that in and we'll get to painting and I'll explain some of that you know to the best of my ability again I'm no you know DaVinci over here I'm just a guy with a dream and a tablet trying to change the world one drawing at a time but you know I'll try to try to help you as much as I can you know even though I get blasted hunt some of my my stuff now my channel you know people badmouth me and say like man you talk too much you did this wrong that you know I'm like whatever dude you know it's like I'm just trying to it's not like I'm making a killing off this stuff I'm just doing it to help other artists out so forgive me if I don't deliver the utmost in what you're expecting for my free courses here but I think it's pretty funny you know I just kind of write lol thanks for the you know thanks for the hate go drink yourself a glass I haterade and enjoy your day it's pretty funny stuff but so yeah that's pretty ugly hair that's right because I'm thinking about my hate mail so sometimes with hair I think I mentioned this models I'll I'll start that way but then I'll come back in and I'll rough out a shape and then I'll work from that shape and try to fit the hair in there I don't know if that's the right or wrong way to do it but something that I seen or read somewhere I can't remember it was if your your drawing doesn't have a good silhouette it won't it won't work well like something about the silhouette jumps into the jumps into people's perspective quickly you know they look at that and they notice something wrong or right about the silhouette so kind of keep an eye on your silhouette and I do that with hair a little bit if the hair is not looking right I'll start looking more at the silhouette of it in the shape of it so at any rate here's our basic line work and I had a little bit of shading in there which I probably shouldn't know but helps me get a feel for it so now what I'm going to do is actually go ahead and uh oh I can't I'm going to flatten this down normally I would just work behind the lines and kind of keep those right up to the end but I guess I don't have to I'm gonna go and flatten this down and we're just going to go ahead and start shading so I work from black and white and you know you can do dodge and burn but I like just using black and white I'm going to use that brush I showed you where it's the chalk marker brush or that's what I call it anyways and the settings are just to transfer pen pressure pen pressure and I'm going to turn this all the way down starting out to about 20% so I work really light to get in to start blocking in some some shadowing and get a feel for how the light is going to work on this form so you know I come through I hit this whole side of the head here always darkening the hair because even a slight hair it's going to be great scaled out more and actually tie the truth I'll I'll block and kind of the whole character a couple times because I don't want any any white the only white I'm going to add is going to be the highlights that I put in there and the highlights of the eyes the whites of the eyes you know glare the lips very little actual white so just kind of like that in one side of the ear there's going to be a little bit of shadowing under the eyes depending on the you know where the light source is coming your going to have the light or the shadow under the nose a quick thing I'll zoom up and show you this real fast because I think it works better for noses I do three kind of combined shadows for the nose right I do one that goes with the roundedness here of the nose I do another that goes around earnest of the nostril and then another that's the roundedness of that part of the nose now I could have just want to cross like this right but for some reason and it doesn't show it so much in this perspective of it if you kind of follow that rule when you're shading the nose it seems to work out nicer more natural by the time it's done so just a a tip there another thing to always take note of is the way that the the nose connects to the face here always kind of get this shadow right there which and I'll actually highlight that two by two them done you're going to get a little bit of shadowing on the side of the nose obviously to where rolls down and connects to the face you're going to get a darker shadow under the eyelid like this onto the iris or whatever part of that is called another one you get a shadow right here it's really just taking notice of where all these shadows kind of you know hit they don't you don't always hit the same place every time but there are definitely a lot of consistencies to the shadowing and the way they work now the other thing I'm going to show you is how I smudge them and blend I use the same kind of chalk brush I got a little bit of scattering on because I wanted to spread apart the tones a little bit transfers on pen pressure and I'll show you how that works and you know you want to vary the size of it and definitely vary the intensity I leave it all the way up but I'm hitting very softly right now and I'm actually hitting right now I'm only hitting in one direction you know so I don't want you to think I'm pulling back and forth and applying a bunch of pressure because if I did that this would happen okay and I'm just trying to explain some of that because I've watched a lot of videos on this stuff and I could not get it because I didn't understand what people were doing they were just kind of look at me I'm digitally painting it's so beautiful but they weren't explaining little things like that like you're going to want to mess with the calibration from your Wacom tablet you're going to want to mess with your settings inside Photoshop or whatever software you're using and then you're going to want to try different things like right now I'm playing very soft amounts of pressure barely hitting the edge right there and then right there I'm just going in one direction so those little things that you can't tell by just watching so I'm trying to explain that because I think that was a big part of me starting to get the hang of this and I still got a long ways to go folks I mean you'll you know stick around though you're going to see a big eyed oh I'm not trying to brag or nothing but you're going to see a lot of progression in my work in the next few years because I am starting to finally get the swing of it and I'm just at the tip of the iceberg so that's why I'm saying you're going to see a progression I'm not saying because I'm some amazing artist that is going to you know break records I'm just saying that this stuff is extremely cool and once you do start to get a understanding of it your mind starts opening up to all the things that you can accomplish with it you're like you know excited that's that's what boils down to you know you utilize it holy crap man this this is a really cool way to create art you're going to once you do get it you're going to you're going to love it it's fun and exciting so one of the things that I have to get in the habit of doing that I don't do enough of now but I'm at least recognizing it that's the first way to solve any problem or issue is to blend out these lines I think I have a bit of an affection for the line work because of my comic book background but for digital painting you know even though there's varying styles of that but for digital painting you typically don't want any lines almost none you know you can have obviously lines for like through the eyelashes and the hairs on the face but and you know hair strands of hair from the head but that's about it if you study you know faces and face painting and stuff like that there's ultimately no line work in there so you got to go through and soften all these edges and just focus on getting transitions from various tonal value like the dark and you know obviously given enough transition of light to dark you're going to kind of create a line but that's you know that's different than a line that you just draw with an ink pen right so that's kind of what you're trying to look at and figure out and you don't want to over smooth and over blend now I'm doing a lot of that right now I still have a lot of tones to put down so I'm just kind of softening all this up and see and seeing if there's still any adjustments I want to make before I get too too much down even though one of the really cool things about Photoshop is like liquify and still being able to grab and edit stuff and use quick math so you can you can still fix issues well into the painting which is really cool and I'll show you something like that once we get a little bit further into it so I'm still just using the blending brush still just pushing tone around another way to do this too is you can actually have less scattering and more of a hard brush hard round set to the same settings of transfer but no you know I'll use one here in a second but no scattering you're not trying to soften and smudge the stuff around as much as you're just trying to move the the shadows around smudge it around so you literally can grab certain tones that you see in your design that you like and kind of push them all the way around where this one's softening as I'm pushing it so it's not going to keep the exact tone it's going to soften it the more push it but that's good for blending or this type of blending so I'll show you what I'm talking about here in a minute okay so back to the chalk brush and I'm going to darken the eyes a bit more another way to put texture in there actually like the brush that I use for hair which is another Photoshop brush all these are brushes that come with Photoshop I don't have any specialty brushes so this one right here is great for doing hair this is the way the strokes overlap and you start getting a strands of hair control-z to back back up more than once just in case you don't know that just recently figured that when I was pretty happy those always ticked I can just controls the back a bunch but for whatever reason you don't have to go over here and hit history it's ctrl alt Z and I'm using a Mac so it's command alt Z sorry used to the PC days so anyways this one's really good for the texture in the eyes so if you come up close here you start working this way with the brush those overlapping strokes will start giving you that that texture that you're looking for in the iris and vary your level of opacity to get some more depth in there now notice I have black and white over here if I hit X it'll flip that and I can paint back in the the highlights with it and right now I'm just kind of feeling it out I'm not I kind of sure yet where I want the brightest of the highlights sometimes they'll just kind of throw the glints in there just to round out the form a little bit real quick and give myself a better idea of how I want this to look I'll just kind of keep going back and forth with the dark and light until it starts to stand out in the cool the thing is I'll you know zoom in and out see how it's working you know again her eyes are really big at this point I'll probably scale them down a bit sir they're actually huge but you know I'll stay on the hairbrush just for a second I'll show you how cool this is for hair again you don't you don't have to look at it like you're drawing every strand of the hair a lot of weight gives you this effect is the overlap so you just kind of you know have fun with it mess it in there throw it around you're going to get the cool hair effect by a lot of your overlap strokes you know you don't really draw the hair until right at the end at least I don't right now I'm just looking to get some texture in there okay and the other thing this one's good for is the hair on the eyebrows so throw a little bit of that in there and even eyelashes I just kind of turn it down start painting those in a good thing to remember with the eyelashes is they're not perfect so I'm going to stick together so we'll be longer so it'll be thinner and thicker that kind of thing so have a good amount of variance in there to get a little bit more realistic look and the bottom part of the eye kind of swoops right there this part curves down still trying to figure out eyes and get them just right but out one of the things is to realize that there's always kind of this highlight right here so I kind of paint over that black line I paint this in like that then I come back with the eyelash eyeliner kind of effect and then trim that back out like that it just looks like hair more realistic than just trying to draw these on and the part where they start to point towards the camera and bend back around the eye I always kind of throw a couple conflicting ones right there I think that looks a little more natural I used to always draw the eyelashes all pointing in one direction and the more you look at eyes you realize that they don't they roll around with the eye a little more texture in here and they'll probably smudge some of this out and get rid of it but eyes got a lot of cool little textures in there and one of the things that helps me pain is just so you know I can get a halfway decent version with the grayscale but when I go to actually color it I'll be able to see it a little bit better so I grayscale posad design out a bit then I add some color and then I go back in and I changed my grayscale a little bit more if I'm trying to get a really you know kind of more detailed rendition or whatever I can't see entirely as much as I need to in just greyscale my tones end up being a little bit off so just another way to look at it you know that you just kind of working through this process and changing it as you go so now this one let's see I'm just sitting right with me in this I think this eye the eye part of this I don't know if that makes any sense this part of this eye I think is too large I think that's what's bothering me I guess what I'll do to is I'll show you how it would decrease the size of the eyes here even though I you know again I like the animated look but the eyes are too big so what I'm going to do is show you how I would go about changing that so I can grab this I select it like that hit Q for quick mask and then I want to soften the edges of this so I'll filter blur Gaussian blur Gaussian blur just I'm softening the quick mask and it's not doing anything to the artwork yet so but what it's going to allow me to do is grab the artwork see how it's got the softer selection now hit Q again so even though you can't see it it's got that I'm going to hit control C control V and now ctrl T to resize it but it's going to resize it and it's going to have a softer edge to it so I'll be able to blend it back through eat more easily just don't want to tilt that high more try right in there still bugging me yeah let's try that so now if I go to layers I can see the change I just sized it down just a little bit probably could even go further but I'm going to want to stay with that because I do like the eyes a little bit bigger it looks a little bit better to me so let's get back in there we had that quick mask effect is a really good way to do it it was a that effect was shown to me a lot of these techniques were shown to me by a really fantastic artist you can check them out here on YouTube I work with them it's a friend of mine named Chris Scalf and he does amazing digital painting you go to his channel and it's just like wow so be sure to check his stuff out and you know try to learn from them that's why I've gotten a few of these techniques so really great work so I'll keep painting on these eyelashes trying to get the you know not inconsistency but just variation in their you know you don't want them all just all identical it looks too unnatural and I say I do have that ear this part is just too big so let me try to adjust that real fast that again into the quickmask filter and Gaussian blur and look lay it encroached on the eye too much but let's see if it works maybe maybe not yeah I think that'll work because I can still control a will merge it down all's I got to do is just take my blend tool and blend off that edge it's a good thing about digital painting you can do that because it's all it's all just shadows so you don't have to be afraid of you know if you get a funky line like right there my time you keep blending it and painting overtop it excuse me real easy to get rid of something like that so this right here is the shadow from the eyelid placing that in there it's going to be darker on the sides of the eye a little bit like this because it's a rounded form you're always going to get a little bit of Darkness right here from the roundedness under the eye just kind of paint that in there and I'll probably soften that up after I keep working on this but I like to place that in there a little bit darker at first and then right here you get the same thing kind of round that out even though it's looking like she's got messy mascara on right now and then again the highlight under the eye when we get that painted in before you do the eyelashes this I do like that X flips back and forth your op brush color and my brush too large and then the bracket keys which are above the quotation mark so your left and right bracket keys will adjust your brush size and that's another really handy feature for moving quickly you just kind of keep toggling those back and forth and pretty soon you don't even look you know as you're adjusting your brush keys you're just your hands over there just doing it so that's a nice little time saver too all right so let's pan back yeah so they're starting to take form there's a you know you're not perfect there's a little bit of funkiness right through here but I'm not liking but you know this is more of a tutorial I'm just kind of trying to buzz through this if I was actually doing this portrait I would actually be a lot further into it right now I try to make these things go by I think even my really ultra detailed portraits or you know whatever my level of detail that I consider ultra detailed won't you know I won't put any longer than two to three hours and I'm now so you know you can imagine that I'd be a lot further but you know I'm trying to explain this and you know talk and walk and chew gum here at the same time so so now what I'll do is soften some of these lines you want a little bit of texture in there but not too much one of the things about drawing beauty shots is you're going to have a lot more softer lines you know if this was like say a portrait of an old man then you a can have a lot of texture in there it kind of edge to the grit into the flavor but when it's more of a beauty shot you want a lot of softness in there so that means not a lot of hard lines so I'll just keep softening up these lines even the lips you know I had a problem for quite some time where I would leave the lips more like how they look now with the outlined version you know or kind of a tight or hard-looking line around it so now I try to soften them up I've been noticing a lot from studying photos that the lips have a very soft transition especially on the sides right here the sides right there it's almost non-existent as far as any line work it's just a soft shadow or transition of tonal value it looks a lot more natural and sensual and soft so you can actually do a little bit of that over the entire line work and then really soften it up on the sides right there you know you want a little bit of darkness under the bottom of the lip to show that kind of pouty nough sand depth right there so you do a little bit of darker shadow there soften that back up soften nose and we got some funky shadows in here but I'll try to fix those I really just go around and try to soften every one of these lines like I said earlier you don't want a whole lot of actual line work in there unless you're going after a more animated comic book kind of feel you know and you can obviously do whatever but if you're going for a touch of realism then you want less lines and just good use of shadow and tonal value and again I still have my hand on the bracket key is moving even though the blending brush I'm moving the size of it back and forth back and forth so areas that I'm trying to soften the entire area and flow that that tone through the whole area and increase the size in areas where I'm trying not to damage say some kind of line work or shadowing I'm putting less pressure with a smaller brush to kind of conserve you know a certain thing I might be seeing in there so okay now as far as the lips I'll use again the hair brush works really well for the texture that you see on the lips there's always a majority of the time a highlight on the bottom lip and the top lip is mostly into shadow not entirely but I said a lot of times so conveys more the depth like that I'll do a little bit of the highlight on the bottom of the lip not much definitely not is what top up on the bottom of the top lip but definitely not as much as I do on the bottom lip and then when I get rid of this shadowing on the top lip generally there's a tiny bit of a highlight on the top of the lips like this and I won't leave it as a line I'll soften the top of this line but I'll put that in there like so and then I'll soften it up as it trans this makes a transition out board and I'm also not liking the darker shadow right there so I'm going to try to soften that a hair and then I want a brighter specular highlight on a few spots of the lip to show kind of a glossiness and the teeth are mainly in shadow on a pose like this but I'm going to brighten them up and then tone them back down to try to get the form of the teeth in their rules again subtle a little bit of highlight on the eyes and there's usually always a specular highlight of some kind on the top of the nose and the top of the chin and it's funny too when you start to do more and more of these you start noticing that there are certain highlights and shadows that are pretty consistent with almost all faces and drawings and it's it's really strange because you would think you know it's complexes the faces and however face is different that you wouldn't see as many consistencies as you do but there are definitely a lot of them so it it gets to the point where you you know you I mean you still look at reference because you try to improve your knowledge of facial drawings and stuff like that but you you almost just start working from memory instinctively because there are so many consistencies so if there's always a little highlight right here almost always so just little things like that let me see what's what am I missing here I think this highlight needs to be a little bit more rounded to round that cheekbone out and then I'll just kind of play with it and go back and forth so I'll do a little you know at this point I start thinking almost like we got modeling clay or something you know just poke and prod and add a little take a little away you know and just you know just kind of feel the process out you know see what I like and see what resonates and then keep keep pressing forward all the while looking at the clock and going okay how much time they're getting this thing and is this a paying gig or might just practice in you know all that stuff comes into play unfortunately as the old saying goes if it doesn't make dollars and it doesn't make sense it's really sad to throw that in there with our like our as art should all just be passion and love of doing it all that but then when you become a working professional you you have to start thinking in terms of how much could you know could I be earning doing something else am i you know making the best use of my time I got a family to provide for blase spli it's all fun fun which I guess is good because in all honesty I love doing this stuff so much that I would just probably drawn one piece for months on end you know trying to really perfect it or something you know but now I'm to the point where I just like you know I like the completion of the piece and I like to see what I can do in a short amount of time and you know and just you know keep some kind of schedule because a lot of people just get so you know so out of whack with you know production and you know you've got to have deadlines if you want to if you want to make any real money at anything you can't you know there's very few jobs in this world where you can just throw something out when you when you feel like it and make a killin at it you know if you're some star famous type and maybe but in the real world for most people it's like you get paid to produce that's where the money comes in so you've got to be able to slap this stuff out so yeah the hair you just kind of keep going back and forth I'll do some darks and lights and smudging I usually even take the same brush for hair and I'll use that to smudge so it keeps a little bit of that texture in there but also allows me to blend some of it up and usually when I'm doing this I'm looking for cool shadows like because you don't want the hair to look deathly like right now it still looks very flat and boring but as I kind of again keep poking and prodding and you know modeling this piece of clay in a sense I just look for you know a cool shadow to pop out you know place where I can add depth and make the hair look like it's more textured and overlapped and unfortunately it still hasn't presented itself as I'm talking about it try again we turn the have city a little bit more turn the brush down the other thing is to do different shapes not having all of it go the same direction so now that I'm on like I don't know layer two or three of drawing the air I'm doing a few just sporadic kind of shapes to see if that helps texturize it and bring something out I thought I saw something right here but maybe not come on I'll make a liar out of me well at any rate you can see where I'm going with it I do if I do this thing completely in real time and keep messing with it'll probably go on forever so I'll keep thinking with it Maddon and shading another good way to pull a little bit of a quick texture out of this is get it to about that point let's pan back grab the Dodge tool I'll put this on a soft brush where we add soft tip and on highlights red tone it way back to percent and now I'll just kind of paint over it a little bit where I think the stronger point of the light would be the phase stuff like that and just just give it a little bit more look layer sometimes that'll help me figure out where I want to texture it more so that great there it worked I don't know if you could see that but that effect that it gave right there shows me kind of a cool like that's what what the hair should look more like this part looks a little more unnatural I can see a little bit in there but whatever again this is partially because I'm explaining it and doing it I'm going to try the soft brush where we at smooth blending brush add a little bit smaller size blend some of this up let's blight me out to me that's why here is a whole other monster is you do it just right and it comes out immediately and then other times you got to do what I'm doing here we're just kind of trying to find your shapes and then I'll turn the brush way down kind of get the loose little strands in there give it a little bit more depth some of those will go up here and in front of the main blocks of the hair you'll get these loose ones as the hairs flimflamming around just like that I'm still really depressed with the way the hair looks up here though right in this spot I wanted a darker shadow here and here to show that it was layered or whatever I'm really not digging the shape I pulled out of that try to flip it back one more time a lot of times I got to turn the opacity of the white down a bit it's almost like the the white is a too overpowering too quickly or something so I have to tone that down a bit alright go back to the highlight one more time so if I pull a little bit more the texture out yeah at any rate I'm not digging that little well all in all I like the the face I guess I'm sure I'll get some naysayers tell me why it's horrible but it's a practice piece and mainly an air you know a narrative to explain the process I had somebody that requested you know saying hey I've noticed smear Digital paints how do you do that so hopefully that this sheds a little bit of light on the process again I'm not the greatest at this stuff I don't think I'm some amazing digital painter like I said I come more from drawing comic books and just doing this because I do I do storyboards for commercial and television work now so this is one of the techniques that we use to produce what we do so I just figured I would show some of you youtubers out there how I go about doing it just one particular way you could do it and I guess one last thing before I wrap it up is then you just take a layer put it on I'll change this to RGB don't flatten clear another layer here turn it to color and really fast just with the soft brush I'll throw in some quick color soft shadow brush my swatches here I'll pick a decent skin tone I've got more passively way down turn that up here yeah so now with a color mode you can just kind of softly paint in some tone like so see I like doing it on another layer because I can go back and edit it a little bit more I'm not real good with coloring I've always been more just into black and white but you see how quickly you can just throw your color in which is kind of fun you know just with this color mode effect I'll kind of use varying levels of color mode and overlay and then I'll also mix in some toucher they can turn this opacity way down and just a little bit of blush to the cheeks they're kind of work alright but yeah you can even do a some light opacity of what do you call it in normal mode for your final rendition and we'll cover the hair be brown I guess try that zelich red yeah I suck a color so yeah definitely has a red hue to it oh well just go with it yeah so you need the thing that's affecting the color here is the tonal values of the gray so that's what I was saying earlier about painting some of this in and then going back and re editing your your gray and I'll show you that too so and that's probably why this has a touch more of a red I mean there's definitely some red in that Brown it sounds funny there's some red in that room but um that's a you know you can adjust that by going back and intensifying or highlighting the the original grayscale tone value so let's get that in there and missing something yeah so now I go back to the grayscale and I can all based on whatever I do if I highlight it more or if I say maybe dodge some of the areas and deepen it see how it'll change the colors and you generally want to go back color recolor over top of it one more time I know that might be when you're actually doing it on the actual layer so what else yes the teeth of star down but just shadow those in you're going to get a shadow from the top lip anyways and really just kind of a hint of the teeth at this this amount of our mouth being open it looks bad though so she's got some dental issues yeah another thing I hate drawing teeth sucks it's pretty bad is my fiance's a dental hygienist so I should be like good at drawing teeth or something but they're really easy to get wrong so yeah my shadows are still a little spotty there and loft but you know hopefully you understand that this was just more or less just a way to show you techniques and you know how I go about the process like I said Oh see I was painting on the actual great tone because I had a few people ask so I figured I better do a video on it and then maybe go back to this and just take the Dodge tool and grab mid-tones or shadows let's try shadows first and I just try to soften up some of these weird shadows on the face is it the darkness of the shadow especially right here is bugging me so much i soften that up you're in here and you always kind of want to soften it up right through the bridge of the nose if you want to make a beauty shot look a little more attractive and I don't know why I've got too much funky shadows right through there let me try mid-tones just have to play with that it's a little better yeah you want to be very sparingly with your shadows on the face right through there all right so hopefully this is showing you something you know let me know if you have any questions I'll try to answer those as best I can and let me know if there's anything else you'd like to see in the future I'll try to get to that I try to do a video once a week I missed last week sorry about that I just got a lot going on but I will try to keep up with that schedule you know I want to be consistent and not fall off I really enjoy doing this stuff for everybody and the feedback you know even though some of it tends to be negative but oh well you know but let me know if there's something I can address that will help you I'm really big into wanting to help you know young artists get better I think it's part of the you know part of our part of you know just becoming better and helping those around you to become better I think you're you know it's kind of a good life you know lesson anyways is to help those around you in your prospective field and life in general so yeah so there it is thanks very much for watching be sure to come back for more and like subscribe share all that good stuff and we'll talk to you soon take care bye bye

37 Replies to “Digital Painting Techniques – Photoshop Tutorial – Narrated by RAM”

  1. Another technique to think about: There's a digital painter named Stanley Lau who says that you should never paint from grayscale to color because it can effect the colors. Here's a link to a video of what he does when painting from grayscale to color.

  2. Don't listen to the negativity. Focus on the positive. Your videos are great and have helped me out a lot. Thanks Rob.

  3. RAM, thanks for the great stuff you do. I for one don't need any hater-ade as you said. All those critics probably can't even push a pencil on real paper. Like you I am still learning, and have been for 50+ years. We can all learn from one another if we just shut up, listen, watch and study. Don't let the haters discourage you. We need your stuff.

  4. Hi Robert, this is just freaking awesome… <3 love it.. am a beginner and i followed your tutorial and did the same sketch 🙂 thanks a lot for this tutorial .. and i was unable to use the soft Round tip brush , since it was not available in photoshop cc

  5. Thanks so much for helping me in PhotoShop! I really appreciate you spent over an hour of your time, for free, to help a newbie such as myself.
    As a digital press operator, your techniques will help me adjust a customer's file for a more refined printed piece.

  6. great video jus a observation, finding your brushes on deviant art is a bit hard too me a while, and luckily i know a lil bit about deviant art, but for those who dont will struggle toe find your brushes the link you provided isn't a direct link to them …. none the less helpful video !

  7. Your linework is amazing and looks so easy and light. I'm definetly going to invest more on my sketching skills with cintiq. I still quite often use pen paper and scanner and just color with digi. Your tutorials are tutorials by definition explaining software, technique and everything. So glad I found this channel. These viewed so far are most useful three videos I've found since I bought cintiq over a year ago. Painting is just my hobby with exception of record covers I fashion for my band. Never mind if someone critizises you of some miniscule things. It doesn't change the fact that you are excellent artist. Even Beethoven had flaws in fingering technique. Little imperfections make perfection. Right and wrong are limiting concepts… there are just different ways of working. Thanx for these vid and peace out!

  8. hey, your really good at what your doing. dont mind the haters… while I was watching your tutorial, i said to my self "men this guy is really good I just wish im not too lazy to practice my drawing and graphic techniques" …

  9. "I'm just a guy with dream and a tablet, trying to change the world one drawing at a time…" RAM… LOL love it!

  10. Thank you Robert, for all of your talking and explaining.I for one often view an artist that has posted how to do this or that and find a speed painting. I have paid for art tutorials that give me some artist speed painting; even when I have downloaded the video and put it through Adobe Premier in order to slow the video down to 10% of its normal speed no one could follow along because the video did not show the layer pallets or show what brush was being used and or what the brush settings were. One that was on Ambient Occlusion that produced an amazing result was impossible to follow. I had to ask my self. I paid for this?

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