Digital Painting Tutorial – Adobe Photoshop – Hard Edge Technique – Narrated



hey what's up everybody rob Marzullo here ram studio comics and in today's video i'm going to bring you some more digital painting techniques that I've learned over the time here so I'm using Adobe Photoshop CC as you can tell and what I want to go over with you today I'll draw I've been getting requests for like weaponry so I'll do a shield I think will be fun to do so I'm going to get started with that now one thing depending on how you draw you can always start off with a sketch first or you can start painting in your shapes one of the things I want to talk about is defining a solid shape and working off that solid shape I think it's a fun way to paint and there's a lot of applications for it so can we come up with a cool kind of sketch here what I think is cool for a shield could be something like mmm I'm like this okay put another couple spikes off the side okay so there's our basic rough sketch you see I put that on a separate layer and just so you know I'm using a Wacom Cintiq here you can use whatever you got but that's a my current weapon of choice here alright so I'll go ahead and put another layer over top and what I wanted to show you in this video mainly primarily is the way to define a solid shape first and work off that so what I'm going to do is actually use the same brush at 100% opacity and I could probably just paint half of this just to save some time but what I'll do is define the overall shape first something like this you know it doesn't have to be perfect but you know get it to whatever level of cleanliness you like and I'll do half just because it's a symmetrical shape or whatever so you fill this in that's why I got the 100% opacity you pick a brush too that doesn't have transparency set in the pen pressure and it won't do this lighter stroke like that but I'm not worried about it I'll just fill it in I'll press a little harder get it done okay almost there I use this copy and distort effect quite a bit that I'm about to show you but I'm sure if you're not a very new to photoshop you're aware of it but I'll show you how I use it to help out with things like this because of course time is of the essence the one thing we don't get anymore of almighty time okay so I'm going to show you something else I do a lot with stuff like this where you see I'm trying to get these cleaner points in there if I wanted this to be really defined like if I planned on this being some really high def a gaming concept art or something like that I'd get in here a bit more with my selection tools maybe and do some stuff like this and you know really clean up my points and get you know whatever level of finish that I'm looking for but for the sake of this I really don't need to do this a whole lot I'll just touch up the spike here and probably call it good fill in these little blank spots those are probably more important because actually the way I'm going to paint here in a second will will matter that these are you know these see-through areas or fill them okay so there's our basic overall shape right so now I grab the pointer tool which I believe you can get to that by hitting B I'm gonna check P VMB on the keyboard hold alt and it'll automatically copy that for you edit transform flip horizontal command T rotate that into place kind of almost like in that separation there might yeah yeah yeah I'll go with that I kind of like that actually gives me a little bit different shape but the other thing I want to show you is now hitting edit transform distort and just to add to the perspective of I can distort that edge in a little bit more what it does is it makes it you know what I'm picturing is that this part of the shield is closer to the viewer and so naturally in recess space this would go down and back so that's my thought process there it'd be to move that around kind of align the bottom points like that I think that's about what I want to go with Sawbuck command T or I'm sorry command e to kind of merge that down I'll get rid of my sketch layer now so I can see a bit more clearly and I'll hit alt select this color and I will now just paint straight across I think something like this although it makes the tips up there look like they'd be a bit fragile but it's okay we're in science-fiction land maybe this is made out of adamantium me and him or whatever however you say that and it's indestructible basically all righty so there's there's our basic shield shape so now by hitting lock transparency like so this is where the fun comes in I start painting freely now not going outside of this and I'll actually duplicate this by hitting command J I take that one layer off make sure that you know and you see after I did that it took the transparency off so make sure to hit that back on and so now I can freely paint on this thing and you know I've made a backup so I can really you know do whatever I want and it allows me to you know have that defined shape with a nice crisp edge which you know sometimes with painting you got to be careful to not you know you have to work harder to get crisp edge work so if you start in this direction with certain things like mechanical shapes weapon jury you're going to find it a little bit easier I even used this effect for like mountains in the background and then if I need a more blurred edge because it's out of focus then I use like a gaze Gaussian blur I can't say anything today but hopefully know what I'm talking about and yeah so I just blur it the very end if I need to so alright let's get painting here I like to turn the opacity pretty low I'm using the chalk brush and there's my brushes there if you're watching my other videos I try to use a very meager set of brushes and those are also available on my deviantART for download at Ram studios one deviantART so and if for whatever reason you don't find them there I'll make sure to update the video with a link in the description below to wherever they end up being but for now you can get them there if if you need need to get them ok so now I just start painting with that lighter brush and I'm just going to start defining some you know texture you'll see that I'm council a size of my brush up and down with the bracket keys as I paint kind of overlapping strokes too to build in some texture you know some occasional little dabs just for some spot enos you know want to give it kind of a weathered you know rigid or rustic look or whatever the word is and one thing I want to do is I want to put a kind of seam line down the middle so what I'll do is maybe I don't know put a little V shape here and darken that end we'll see how that works and then I want to run a line straight down sometimes I'll try to do like a straight quick pull that doesn't work I'll just hold shift and kind of click back and forth while holding shift boom boom boom just like that and you know that are giving my straight line to work off and then I'll just kind of paint it because I don't want a perfectly straight line anyways but it gives me a reference point to work with all about making the job easier on myself so and if people watch my videos in my channel you you know that but I like to cheat and I like to make it nice and easy alright so I'll keep dabbing around and trying to get a feel for you know what kind of material this might be in you know I haven't gotten to paint in any specularity yet you know I imagine I want some I don't think this is going to be like a leather-bound shield or anything like that but you know I want some definitely want some some grit and grime in there first and then I'll go you know start worrying about the specularity at the end of the the painting or whatever now another thing I'd like to see in this particular shape is like a bezel on the very edge so maybe I'll do something like this and keep in mind I probably could have drew this in first then copied it I want to save myself some time so even though I just spoke about being all about saving time I made a slight mistake there I didn't think ahead in my artwork but you know let that just be a lesson to you that you know if you think if you plan ahead in your work you can save a tremendous amount of time and that's you know one of the reasons why as a professional you can stamp out so much more work and get better you know more and more jobs because you start thinking so much more in advance you know like playing a game of chess I guess and being strategic about your work so I just kind of add these little reference points and bezel line so I can kind of picture how that would look and I'm almost see and maybe another line next to that and then this will be like kind of a raised rounded piece let's see if I can make that look cool enough do my best and I'm thinking maybe like a dragon head on the face of this up into overly detailed but might be kind of fun to do so I'm going to try that too okay so there's our you know basic design of what the the shield is going to look like and then you know to make this front part protrude out I can just put a little bit of light source keep in mind I just hit X to flip the colors over here and just a little bit of light source to start giving myself some hints as to you know the shape of this and forgive me if I say you know too much I get comments on that I really don't know where that comes from it's just the way I talk so forgive forget or move on I will tell you it's just the way I talk so I've tried to be a little bit more knowledgeable of it and work it out of my system of speech but apparently you can want to teach an old dog so many new tricks because I have a hard time not doing that so you know I don't know Daiya head anyway I will keep trying maybe after the next I think about like 270 videos maybe by the time I reach 500 videos I'll have better speech patterns I imagine you know like anything else like you know but I'll get better over time I hope we'll see not just stop back every few hundred videos and you can tell me all right so at any rate little bits of trying to shape out that a shield now the other thing I like to do is work off some kind of background instead of just stark white so I'll drop in another layer like so and let's just grab a gradient and throw something back there didn't work let's try it again yeah just anything I'm actually a little bit more gradation yeah something like that just a little bit better than working off stark white I think then a lot of times I'll even take the the shield itself I'll do this with another layer I'm just going to just throw a quick drop shadow behind it but I'll just paint one end like this just so it looks like it's kind of floating off a background and it just helps me visualize more depth to the piece let's try that you know it's nothing that's got to stay in the end piece I just I don't know I like to paint this way a little bit more okay so now I think I'll start painting it a little bit more of some kind of rough texture so what I like to do here is just start getting in here and throwing in some little chips and dings just anything to make it look more weathered and more used in battle obviously if it's all smooth and shiny it's not going to look like it ever got used or I don't know maybe it could be that exceptional of a material where it managed to stay shiny the entire time I don't know but for this purpose or this particular piece we'll say that this one's very tattered and it's seen a lot of battle this is all just style choices obviously for stuff like this I'll generally maybe study brick walls or obviously there's a lot of weaponry that you can just google and find out there but I like to mix it up so I'll look for like different rock textures busted up buildings maybe just just anything really even even some beat-up wood textures might give you some insight into some different patterns you can put in here I don't think there's any one right or wrong way to do this and forgive me this one's going to see them a bit blankly and slow I didn't want to time-lapses because I just felt like it might you know you might get a loss of information there so even though it's going to be a bit slower hopefully this will appeal to people that are really trying to learn some techniques as the you know the process unfolds I know that for me there's there's kind of a mix there I like watching videos that are more time consuming but more detailed and then also I like watching some time lapse when I'm on the go and it's a bit more rushed and I can't sit there and take my time and really study the entire video so I try to do a few different types on my channel for that reason you know for obviously for the comments that I get and I do want to thank everybody once again for all the continued support I actually never expected this channel to go quite this far not that yeah I think I'm coming up on 19 thousand subscribers or something and you know not that that's some great number there's just I was there's channels out there just dust minded you know to no end or whatever but I guess I'm just more impressed with the idea that I wasn't expecting to do all that with it I was just kind of using it as a outlet to share artwork and have a good time and network with other artists it ended up turning into everything from meeting some really cool fellow artists to helping a lot of young aspiring artists and even selling some work in my commercial lifestyle so so yeah it's been pretty neat pretty pretty cool I appreciate everything everybody does to share like and you know be part all that so pretty pretty nifty alright as I digress I should get back on track here right sorry I have a creative mind I zone out and go on tangents and I really can't help it just the way my brain works I guess okay so a little bit closer and another thing I like to do too is paint stuff down and then paint it back up I pick things up and put them down basically okay darken it hit X go back to light and start paint it up again really want to bring this bezel out more so I'll just highlight the one side of it pretty heavy try to roam that out like so and the other reason why I like to paint behind it was a little bit of gradation is now when I do my highlights on the very edges they pop a little bit more as to where before you can quite see them so now with that little bit of tonal value in the background I can work on these highlights and pick them apart a little more so little bits like that and I think what I'll do now is start working on that dragon face I was telling you about it's not going to be ultra detail because I don't want this to be too time-consuming but I'll try to show you a couple of techniques on what I would do to make something like that kind of pop out also keep in mind that if you just do a little bit to highlight on some of this tattered area it gives it just a touch more depth so you can just kind of poke and prod around and add these little specks of light around the the cracks in the dent and it gives it a little bit more appeal or depth and then you can just do a couple little specks here and there just randomly of just the highlights and just the darks but you know it's it's all just playing around with it and seeing whatever looks cool and whatever jumps out at you is is what you want you don't even know what I'm doing right there but I like it so I'm fun with it alright so now for the dragon head I call this the Dragon shield how's that for inventiveness creativity okay so now the dragon head I'll add another layer because I love the layers and I'll go back to dark and I'll just kind of pencil sketch you know just a basic kind of dragon head shape so I'm going to be some great dragon here just something that I think looks like a dragon could be a dragon you know you can almost do something that's just very what's the word very vector base or very bad another word but just shapes basically very design kind of oriented and not much detail at all so if I like that but we'll roll with it because I don't want to keep trying to redraw some perfect dragon head here so now all I'm going to do is paint in what I would picture some of the shadows being in the mouth the eye then nose area that your area like that and then I'll take the the white so hit X again paint some of the highlights and I guess what I'm picturing here is that maybe this is molded or cast into the shield quite know how that would be made but you know what I mean something to that effect if it was just a little bit kind of a puzzled look and the neat thing about doing it on its own separate layer and painting this fashion see how it shows the the cracks through there so and then if I don't like the way it's positioned and I can just individually manipulate that like one of my favorite tools on here is transform warp and I could just kind of warp that artwork into place a bit hit enter say I'm done painting I would paint more than that on there obviously but just to you know show you the process in which I would use I would hold alt move over with the pointer tool and it would give me a copy when just go duplicate layer' edit transform flip horizontally you get this kind of weird monster going on right there command T rotate that into place it starting to not look like a dragon now but oh well it'll work and then go edit transform distort and again I probably could have painted this all on one side and then flipped it at the last minute but it's really just preference you know it's not too hard to do what we're doing here so so edit transform distort that in place and once I got it to where I think it looks relatively in place I think the other side needs to be adjusted a bit and then I can hit command make sure you got yeah got to be on the top one command e and now the the dragon lair is on its own you know it's a pretty we click and drag them but and I can just get in there and pain a little bit more and you know I start looking at it like right now it just looks like I don't know I drew over top of the shield which is what I did but I can start getting in there now and trying to paint it and make it look a little bit more like a bezel material and I could just do that by you know just shading and going back forth of the highlights and trying to define the material a little bit more and I think I'll do that on a layer above it really big on using layers because it just allows me to go back and forth and you know if I make some horrendous mistake I can obviously just delete the layer and start over if I have to so layers I think can be a very powerful tool and a way to experiment and really get your art where you want it now obviously the highlights on the dragon look symmetrical which you wouldn't want that's one thing about you know copying something and working off the other side get remember that shadows and highlights are never almost never never symmetrical they're they're going to react differently on a face from one side to the other so they're definitely going to react differently on you know a shield like this from one side to the other so just something to keep in mind and it's real hard to get yourself out of the habit of just going for what seems easy and that's adding the same kind of highlights from side to side at least for me it is anyway so you got to practice getting out of that groove and picturing what shadows would affect your object differently from side to side okay so now another thing I might do at this stage is copy all these layers that I've worked up for the shield command J command E merge them together disappear the other layers and now I've got this on its own layer and actually with the shadow so I didn't want that let me go back command all Z to go back a couple times right there and let me just delete those yes I don't want the shadow right there so hold shift select these layers command J command E and disappear these layers okay there we go so all the all's I want to do here is make sure I was on its lair so I can do my final touch-ups for you know my my variation of highlights now I would do a lot more to this to call to finish piece but I just want to show you a few more techniques on how I would paint something like this and then you can play around with it and go as far as you want with the finality of the piece but I just don't want this video to be too awfully crazy long so so I'd get in here and just keep painting away and trying to define some of the material so if I wanted this more specular I would start adding little highlights like these to make it look like a reflective material in some areas and to me reflective materials generally have a really bright hot spot like this and then they break off to a tonal value quickly and then disperse quickly I think I'm saying that right so I would do that over the areas that I expect to be very specular now another cool little quick way to do this is your dodge and burn so I'll show you that here in a second but I'm just showing you how I would kind of paint it and pretend like I know what I'm doing here you know fake it to you make it kind of thing a couple little highlights on the other side but mainly keeping that in the dark and again trying not to even that you know put the highlight in the same spot as over there so that was like good call this highlight would be maybe over here if at all and again nowhere near as bright because the sides in shadow they have a hard time with not just adding the highlights in the same exact spot so try to fight that as I go here okay so we'll say something like that and a little bit more texturing here I'd also recommend turning down the opacity of the brush if you want to slowly work up your highlights it seems like the highlights can get painted in really quick and they're easy to overdo so if you have that problem like I do then just turn your your opacity down even further so that you can slowly add those in we're going to do that now so I can't I won't show you what I'm talking about so it just gives you a little bit more freedom to paint if you're still kind of feeling out the process and you don't want to overly bleach in your highlights or painting it paint them in too dramatically so that leaves a little bit more highlights on the shield and like I said now you could come in with the Dodge tool and if you want to punch up the specularity it's real easy to do again it's real easy to overdo so you just got to play with it that's why I like making copies of the artwork at this stage also to get it just right and we can drop our shadow back in and see if that makes it pop a little bit more tone that shadow down just a little bit but yeah so that's essentially how would you know paint something like that so a few of the effects that I would use and you could take it as far as you want obviously and just keep going and really make this look more and more realistic with the overlays of texture and going back and forth with your highlights and your shadows okay so go into time lapse is next portion and adds more details so I can show you how to bring this to more of a finished level you okay so that's about you know how far I would take it I mean obviously get in there and keep noodling around and get it really detailed or whatever you're after but hopefully that gives you an idea and if you notice I added a little bit of like overlay layers some I just threw in some little specks just to you know give it a little bit more grit this is an overlay this was a normal just with the soft brush kind of adding a little bit more shadows so I kind of bounce back and forth after I add this color layer and alls I did there was basically take the gray tone and paint right over top of it with color mode so hopefully you're able to see that since I showed the interface and everything so if you got any questions be sure to drop them in the comments section below let me know as always what you'd like to see in the future and I always try to bring that to you try to answer my video responses relatively quickly our video requests I should say and yeah just let me know what you think and be sure to LIKE subscribe and share if you don't mind helps me progress the channel and keep bringing you new content and as always keep drawing keep them fun and we will talk to you soon you

28 Replies to “Digital Painting Tutorial – Adobe Photoshop – Hard Edge Technique – Narrated”

  1. Man. Arent there too many identical visible glares are? Also finish work looks pretty sloopy

  2. Quicker way to fill it in if you want to start with a solid/uniformed selection would be to select outside the lines, CTRL+Shift+I to inverse. Fill with a bucket.

  3. Very good tutorial, I can definitely use this on something I wanna draw, I'm building up my skill towards it.
    Also I see no problem with the way you talk, but I like that you always seek to improve, that's a really great attitude towards how you work.
    also i was like: what do you mean by command + j, command + e? are u losing your mind?
    then later i realized you're on a mac lololol

  4. I know this is from a year ago, but I would love to see more weapon oriented videos, there are not many videos out there on blade design & painting.

  5. Blown away…..wow. Started painting for the first time in like 20 years recently on a Surface Pro and Wacom Intuos. Very inspiring, makes me wanna learn more.

  6. You do not record videos to hear your own voice; you are trying to assist others in enhancing their artistic abilities. Those that say you talk too much are not the ones you need to worry about… These videos are appreciated.

  7. Hey there Robert. What's the tool you use to keep the paintbrush inside the shape when you're initially adding the weathering to the shield?

  8. Real time definitely gives one a better understanding of the overall procedure. Thanks Robert.
    All the best, Barry.

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