Final adjustments and effects
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Learn more from the full courseDigital Painting Master Class : Beginner to Advanced
Digital painting and drawing has never been this fun. Illustrate characters, creatures, landscapes and more!
30:39:29 of on-demand video • Updated February 2020
- Gain a firm understanding of the diverse tools and powerful features available in Photoshop and Illustrator
- Have a better understanding on how to use textures and shading for more realistic details
- You will learn many techniques in Photoshop that will make your editing faster and more realistic like the puppet warp tool
- Learn best practices to better develop and digitally paint character ideas quickly
- Mastery of the Photoshop interface
- Fundamentals of lighting, textures, and shapes
- Frame by frame animation techniques
- Character and creature deisgn
- Full understanding of drawing with perspective
- Advance environment illustration and so much more!!!
English [Auto] All right guys. So welcome to the final part of this tutorial where we will be making the final adjustments and playing with some effects and doing some more experimental stuff to see if we can push the piece just a little bit further just to augment some of the stuff that's already in place. So as you see me doing right now is just general cleanup going around the edges as I've been doing the whole time. If we're painting in a very tight style we want to pay very close attention to how clean our silhouette is how refined everything seems to be. And that's just been a common theme throughout. And as you're working on stuff like this that's just part of the style and having a very clean and cleanly style with a clean silhouette will permit you to get a lot of attention because it's the style that's most easily relatable to whether you spin it with animate or keep it more Western in comics oriented or whatever the cleanest stuff typically gets the most or at least a good deal of attention when you're working on this so you can keep that in mind as you're making your games and making art for your games. This kind of style typically works well for it. Now you see me going in and just giving it one more pass. And I've been doing a ton of passes throughout this whole process and that's simply because you just want to maintain it. You want to maintain the level of cleanliness and it's just a big part of this overall process. Although it's going to be fun later because we'll be getting into some layer of facts and overlaying this image upon itself and playing with blend modes so it's going to be kind of adventurous near the end. You see I'm not zooming in too close at this stage just because I want to keep it very I want to keep the whole image in mind because it's coming to a finish. And this is about the size that most people will be seeing it as or seeing it out on the Internet or probably about the original resolution at the very end we'll size it down just to amplify the sharpness a little bit because we did double the canvas size at one point just so we can get enough detail packed into that face and some of the other key places on this figure. One of the greatest challenges during the creation of a more refined piece is the ability to keep returning to it. It takes a certain degree of discipline for many artists to continue to make changes that are improving the image and to come back with fresh eyes every single time. It just happens to be a key theme in art that when youre doing illustrations especially they typically could run anywhere from three hours for the process all the way up to three weeks or more. And thats just just as a rule of thumb. The main thing being that you have to cultivate the discipline within yourself to finish the images even when some days it's a little bit harder or you may feel a little less inspired or it might you might be having a time where and you're making a lot of changes and they're either making the images the image or working on worse or they're just changing it arbitrarily and not really doing a lot to improve the image. And if that's ever the case you have to keep your spirits up because it'll seem like nothing is getting done. It'll just be sort of a painful process. And Art I believe should be fun even though there are aspects of it that are going to be a little more painful. That pain is ultimately rewarding when you can look back on a piece and say wow I really gave that my I gave it my best shot. I really went over it I kept pretty clean or I moved and kept going back to it several times. I like to count every single time that I go back to a piece a setting or a sittings sorry a sitting where and let's say you started the work in one sitting and then you leave you go to something else you come back that's another sitting. And that's just another way to measure pieces as opposed to hours because hours can vary depending on the piece. But however many sittings that you do can give you another new Another bit of numerical insight into how you work and what it is you're doing with that time every time you sit down. When you think in hours it can also be a little bit taxing for some people because the more Dalgetty of time slowly going by is hard for some artists to take. Certainly since we're working on a singular image in many of these cases. So if you just count the sittings it feels a little bit better. And thus it might be a technique that you apply to cultivate the diligence to keep coming back to your own works even when at times it doesn't feel like you're doing much or the changes that you're making are minimal. Sometimes that's what there is to be done. Sometimes you're just making the smallest changes possible because when you make a whole lot of small changes they add up and then you get one powerful image. Now it usually is a general rule of thumb that late in the process we're really not changing a whole lot. We don't want to over overwork the image. We just want it to be. We want to leave it at a good point. And if you ever get stuck while working on something for this long sometimes you literally will have to go get a reference or you'll have to go do a study and try to analyze the aspects that you're having the most difficulty with because once you get beyond that you can come back to your work and actually start making the improvements again start progressing again. And that is a very important part of being an artist. You see him really going in and doing these last little clean sweeps just altering any of the little bits that aren't feeling right. I'll just let my eyes scan the various mechanical aspects of this figure and say okay this definitely needs more work. All right. That little bit needs to be adjusted. I need a couple more brushstrokes here. I need to simplify my brushwork here. And that's the kind of stuff I'm looking for. Just those little changes that we talked about that are going to add up to be the more potent changes. It's like when we ran the contour before and just kept cleaning it up and cleaning it up. You see now why the drawing is so important and why we try to have a relatively clean drawing. Because when we have a clean clear concise drawing there's not much room to get overly interpretive or to leave too much to the imagination or too much to chance rather because you can still leave a lot to the imagination but you don't want to leave a lot to chance. Except when you are working digitally there is a lot of room for experimentation and experimentation is definitely a good thing. You don't want to experiment so much that you destroy your piece. That's why we do some nondestructive editing later in this tutorial. But you really do want to do just enough experimentation to where you're actually improving it. You are trying things and getting rid of the things that do not work. So here's one such thing. You're actually experimenting to make the piece better and push it as opposed to doing the things that don't work. So here's one such thing where I am actually going in with a special brush and grabbing some of the color of the light and moving that around to create some visual noise. And now I'm going to do is blur it because it's too noisy. We want to get some of that noise and spin it around to give more of that Portelli feel like he's really coming out of some sort of interdimensional lightning oriented portal. And so I kind of go in and after spinning it with radio Blar erase it with a soft brush around the figure so that it's still kind of cruises around him and adds another layer of ambiance because once we've got the figure in there we're really working more so with the mood and colors and the stuff that comes later in the pipeline and other little effect we can do is make a whole merged layer and that's with commander control and all to shift and E in that sequence and that makes a whole layer of copy merged material. So it flattens everything essentially and makes a new layer of that whole Flaten process and then you can do stuff to it like I just added noise using the noise filter. And now I'm actually double clicking the layer and turning off some of the color channels. And after that I use the Move tool and I begin to move different areas about and that will give you what's called chromatic aberration and that's pitches of color on the outside of the figure as I'm toggling it on and off here. Not only does it add a slight blur effect for more realism but it also gives a very subtle hint of color nuance and you see me switching the channels out here you just double click the player and the channels are right under the layer opacity slider in that pop up menu. And so I've done that now and it's time to start experimenting with some more effects. And before I do that I'm going to sharpen everything up so that I get that that print quality that finer degree of Polish that's really going to help seal this image in. It's like if you were to put a code of sealant on a traditional painting or if you were to just render out your image in a 3D engine it would be the final little bit of ceiling. These are all the steps we're taking here and unsharp mask is a great filter to really give your painting some more crispness overall. Visually speaking and as I toggle the layer on and off you can totally see that I know you saw me already doing some layer and various filter effects but now we're going to start doing other things like playing with colors and just doing some experimentation on top of it to see if we can push it that one more step it needs to really just showcase a flair that it's currently not quite attaining yet. So let's see what we can do with some of that. First I'm going to highlight the whole image by hitting command or control. If you're on Windows then we're going to do command or control shift and Z. I'm sorry. Command Control shift C C as in cat and that copies the whole image after which we're going to go. New and opened up a brand new document and it'll be our copied image so we'll just go ahead and paste that in with either edit paste or command or control shift to V as in violin and then we have our image flat. And what we can do at this point is do a whole bunch of various effects and different layer modes to see if we can get it to look cooler than it already looks. So first of all let's try playing with the colors now the selective color filter is one of my absolute favorites because it permits you to do things either based on value or by a specific color. So as you can see there are a lot of signs in this image. And so if we start to manipulate that level so as we manipulate the cyan slider in the cyan color selection we can either amplify that Suyin or kind of draw back from it. Now since there's so much of it if we're drawing back and adding another color it really changes the image quite a bit. And since it's one of the main color components of this image I'd say it's best to kind of leave the cyan level mostly intact so we can play around and sort of see if we like any other color modulations. And personally I'm liking it a little more blue. So I'm going to jam up the magenta levels a bit. Then we have yellow. And as we move back and forth either adding more yellow or adding more blue. And in this case I feel like a little bit of yellow is good for balance so we'll keep that in there. Now let's try to do some stuff with the various value aspects. There is a lot of white and this imagery behind our character making him pop out even more so. So if we go to whites you can see that we can either blast it with Suyin and it's changing the background color there. It's lowering the value of it and adding more Cyan to it. Or like we did with the other side or we could always just push in the magenta levels or even just maneuver around some yellow or blue although that's not affecting very much. Let's try a neutral slider. All right now this is a really editing image quite a bit when we're moving around the various sliders under neutral. Neutral is usually the one that affects the most if you use the selective color adjustment layer right. It's going to pitch it up a little bit more cyan and less magenta a little more yellow. So now if we toggle our eye on it off you can see we've made some very light adjustments to it. They're almost negligible simply because I want to showcase the Selective Color method but we have some other ones here that are really cool as well. We're going to be getting into some more experimental ones that may or may not have some crazy effects in a little bit here too. So the gradient map is another really cool one for color correction. If you open it up and click the gradient you can see all these other little little maps that can be selected. And these are the preset gradients that come with it. And you can see it makes the image pretty crazy and kind of broken and glitchy in many cases. So typically what we want to do is find some way to balance that out. So this one is sort of a cool color scheme with the sort of indigo purple. So it's just that a bit. And we try to keep the values relatively similar to our initial sketch as well so it stays readable and doesn't goof up too much. Let's push into some strong sort of other oranges where we go and just play around with that until we have an effect or color selection that makes good sense to us. And this is looking kind of cool so let's just try playing around with this great idea now that we have it now even with an adjustment layer we can still set the blend mode. So for example if I set it to screen it has another effect than if it were just to be a normal player. And we can also lower the opacity or the fill of that layer to adjust the effect more or less as we as we choose the opacity there. So as you can see as I go into these various color modes I'm getting some very interesting effects and a lot of them are not super applicable simply because we're really getting a huge crush not only by jamming up the values or the contrast with our various layer modes but also getting some really weird glitch effects because we're pushing the program beyond its ability to parse the pixels and do the kind of program it needs to do in order to make our image look different properly. So what we can do is set it to color and take a kind of low that's always a fun one sometimes saturation has some cool effects as well. So try switching it to that blend mode and lowering it down and that just gives our colors a little bit more pop. Bless them upwards a little bit with the gradient map. So that's always a good effect. Yeah I like that. So let's lower it to make it even more subtle though because now we're pushing around just a little bit more color nuance. We don't want it to be overwhelming. So next we're going to be trying some other techniques like when to hit commander control all to shift and E which gives me a merged version of my image. So this one has all the effects applied to it already. Next I can go and mess with some adjustment layers much like the adjustments from the actual image as opposed to from a layer. And this means I'm going to be changing the image as opposed to a layer that I can just toggle on and off. One way to really play with this is to adjust the image itself and overlay the image atop itself in a sense. And that's going to give us some really cool effects if we play with it. So let's try some distortion of effects like some various filters we can use. Now it takes a lot of experimentation with these to get something that's actually workable. So let's just try the sheer filter. And this is really going to distort the image but what it does is allow us to use our image as a base or a map so that we can ultimately overlay an effect that's going to create some more interest than we already have. So we started with this and now our image is completely and utterly warped and that's kind of scary to look at if you're not sure what you're going to be doing with it. But in this case I have a really good idea and so I'm going to try applying that. Next thing I want to do is liquify the image. And this is just going to make it even more unrecognizable. When we overlay this image later it's going to be a lot more of an effect than it is any actual like photo abash technique or part of the image itself. And now with liquefy moving around all of these various elements that I grab from the image that it used to be and I'm just recycling what we've already done in order to make some new effects that we can use and then Zanetti part of the painting the color scheme is never an issue. And I kind of got a circle going in the middle here with liquify. I'm just going to go ahead and use that and see how that looks so we're going to finish up here. That gives me that middle circle and then we'll start to use it as various layer effects so already it's a pretty cool factor but it's very overpowering and hard to read our image through it. So we'll lower the opacity and begin to just sort of test out some more blend modes by running down the list. I kind of like what overlay was doing. It makes it still appear fairly subtle. As long as they move it away from the face and hair it might make for a really neat sort of overlay. Yeah it gives the image some more visual noise to play with and more of a theory feel. And that's always that's always a fun thing to play with if you can. So I'm liking that. I'm liking the theatric feel everything we can do is adjust the colors to this overlay layer as well because overlay layers are very good at it's just a color just like I showcased earlier on in this tutorial. So if we move it around a bit we could actually have some more color nuance too. So let's go for more of a. I really like the blues in this image so I'm not trying to mess too much with that. Let's get it to more of a greenish blue. So that adds a little more green to the image green that it didn't previously have. So let's see we're going to be using some other effects that we can come up with as well just to overlay and test them and see if we can't keep pushing this image. Let's try the there's some really good pixelate filters. So I want to showcase some of those. First we're going to crystallize our image. I made another copy of it and you see the cell size here. The smaller the cell size the less it's going to be crystallize and the larger the size the more crystals we're going to be getting. It kind of becomes like a stained glass montage or something or a stained glass assemblage kind of like you're seeing here where we have a vague representation of the image that isn't really isn't really the image and it's full detail in entirety but can still be used in sort of an abstract and cool way if we're clever with it. So let's take that sort of glassy effect that we're getting from this and see if we can apply it to some places where it's more welcome. For example we really like our figure. We're not going to be doing too much to him. So let's take it off of there with a nice soft brush. But it's looking pretty cool coming off of some of these effects and it makes some really nice chromatic nuance in some of this background action here as well. So you see that we're constantly adding these new layers of complexity that are enriching the image in very subtle ways. These these effects are best saved for the end. In my opinion just because they require a lot of merging and pushing the image downwards so that you don't have too much too many layers or complexity to to work with because I will not only slow on your machine but it's very destructive editing that's why I opened up a whole new document for this as well. So some other things that we can do with a flattened image as opposed to a fully layered one is take the Dodge tool which is right down here. Set it to highlights and somewhat of an exposure on the 20s and start to blast certain areas a little more light. If we want such as the hair there or even this Gauntlett give it more of an electric static effect by pushing light out because that's what the Dodge tool does is it's great for blowing light outward and it's really easy to go overboard with. So I recommend learning to kind of tame it and taper it back. Buy it when you can use it as an actual augmentation of light then it can be very very handy apparatus that is using it to kind of buffer out some of the areas that I know would be getting just soak in the light that's behind them. You can see we've jammed up the contrast quite a bit maybe even a little too much so let's draw back on that. Bring it down to about a quarter of what it was. And now we have even more light and yet another degree of very small complexity that still pushes the image more so. So our goal at this point is like I said just to constantly be pushing this image around until we are at a level where we're able to just call it. So I think that maybe one or two more effects and this should be complex enough to generate enough interest to be called done. So let's try some other things. I'm going to make yet another layer of the image upon itself and I'm going to do some crazy stuff with the colors just because I feel I could still use that one last push in the color department that I'm not quite seeing here yet. So let's try to invert the image which gives us a really crazy looking thing as you can see and inversion works really well with some of these lower these lower blood loads and so try it out on some of these. See if I can get anything special so far it's pretty basic. Let's try and adjust to you and further keep pushing stuff around. And just so you know I'm not going to keep it like this. It's simply to see what other color possibilities are out there. It's like sort of a crazy test. You can think about it. You kind of think of it like like that. I'm not really attached to it in any any real way. It's just to explore the potential of the image images colors. And so now it's a color layer it's looking just so crazy like this going to push around some some hue and saturation layers just to see if we can't get the kind of the skin colors back to a little more natural looking. All right so I feel some of the warmer tones would really add to this image if I could find a way to implement them without being overpowering. Now one way to do that is just to lower it. But then again that washes everything else out of it using a color layer. So there might be some other blend molds that we can try that will allow us to implement them in a more succinct fashion or a fashion that favors our end result more so. And if we can't then we can always just scrap it. That's the fun part about experimenting at the end. Man we're getting some really fun effects here. Just have to find a way to bring it all back with us. Doesn't have to be the image itself so maybe we'll try doing some of those those various distortions. For example polar coordinates now polar coordinates is really good at getting some insane looking effects just like I just completely rippled and change the image of you. If I go back to normal you can see what it really turned into. And that's sort of this void that it took with its coordinates and did something similar to the shear filter. So now it becomes less about using the image upon itself and more of a of an abstract push that we can find a way to sort of layer atop what we already have. You know in a cool way let's try one more distortion. We'll go with pole the pole rectangular this time. All right and that seems to put it in a really interesting direction. You're losing a lot of our values if we do it that way. Makes a pretty cool color layer seemed like it's not adding much so I'll go ahead and get rid of that one and we may be at the point where we're just about ready to call this and try one more thing and that's bringing up a photo texture and overlaying that for various effect. So what I've done is I've grabbed some textures and imported them quickly and we're going to try some effects using these. Now these are royalty free with modification. You can just find them on Google using search settings and it's a very easy process and it's nice to use them if they're not not under copyright of some sort. So as long as we modify these and implement them well into our image we are in the clear. So we're going to be trying some of these effects and I'm I'm liking some of this some of what I'm getting with the soft light and the overlay layers. Let's keep it soft light. No let's actually go with overlay because of the contrast and the lower the fill level so that it doesn't have quite as much rough edge to it. And then I'm going to go in and adjust the colors because I think we're skewing a bit too warm here. Pull out some of the saturation even maybe Ampe the lightness just a tad. All right that's looking kind of nice. Let's pull the opacity down so it's an even more subtle effect. And that's a really clean overlay. It doesn't affect our image too much but it balances out some of that overpowering Suyin that the the image had kind of over our shingly. So I have another texture here that I'm going to try using and I haven't figured out what I'm going to do with it yet but it's kind of fun to mix and match and experiment with this kind of stuff. So first I'm going to distort it with polar coordinates and push it around and see what happens. So we're getting some of this sort of double sort of swirling archway effect which is kind of cool but I don't think it'll suit our image very well. Next I'm going to give it sort of a singularity which is kind of move it towards the sort of swirling spiral effect that's going to help with our character coming out of the background he's coming out of which is sort of an electric portal. And I'm going to push some of the texture around for that purpose. So fire will return a result pretty quick here since we made a new document. And now I'm going to go through a couple different blend modes and see where we get oh wow saturation looks really cool. I wish it didn't take away so much of the other colors though. A really low opacity vivid light layer will take most of it off of the character. And that way we can still keep sort of that that bricky texture coming in here overlaying and giving us a little more detail. All right and finally we have this last texture I'm going to try and push this one in and it'll be our final piece there is this Thornes if you will already have that nice circular effect that I'm trying to keep behind the character. We'll start with a soft light layer here so switched it to overlay and just lower the opacity downward until we had that subtle effect going. And now we're pushing even a little more away from some of that blue and cyan which isn't a bad thing but I'd like to return to just a bit of it here. There we are. And we have that nice sort of dampening effect going on back there. And now we have a fully realized illustration start to finish from thumbnail ideation all the way to this point right here. All the stages of refinement making a drawing figuring stuff out getting the design and rendering and fixing things until we come to an appropriate level of finish. So besides this there are a couple quick effects we can do just to add a little more focus to our character himself. One of which is making another new layer opaquely and using Gazi in Blar or Gulshan. Blair however you wish to pronounce it and we'll go with about 19 pixels and you can see the whole image billers here you can then take a soft eraser and only race away the bits that are important really. So obviously that would be sort of the lightning knuckle effect and maybe this first part of the leg coming forward here and push the rest of that stuff back. So now we have an even greater depth of field here. And we can focus even more so on the character now. We can also do is just crush those white levels down just a little bit. So they're not so blaring using the curve's filter. There we go. And that even gives it a little more pitch making some subtle curves adjustments here. What we're doing is we're making points on the graft and this is more towards the black because of values and this is more towards white. These are mid tones. So I'm just leveling these as one little final adjustment pitched up a little too high. Let's take that one off the node. All right. That looks good. Double check it. All right so he pitched downward so we're not as overblown as we were before. We've added our blur effect so that we don't have as much noise in the atmosphere and can better focus on our character. I guess one more final thing we could try is sort of a glitch effect and that's where we take these last or two selections while holding the shift key so we can make multiple selections. Just peel a bunch of bits up make some random strokes on the canvas. Don't try to keep away from the face and hair because it doesn't tend to work so well in those areas. Break up some of the larger shapes as well. This should be sufficient. And then since this is a whole new layer we can just take those selections and pull them away. Creating sort of a crazy kind of warping effect. That the character is going through space in a more kind of broken up manner. And we can blur those a little bit too with a motion blur. To make sure we're still in one selection now. So he can give those a small Belaire and then kind of you race away at the bits we don't need as much because we don't want to mess up our silhouette who to drastically here and ones by the leg aren't working quite as well but they're other ones make for a really nice sort of zooming effect and it's subtle so it works kind of nice. And I'm seeing just some really sharp values back here where we don't really need them so we'll get rid of that quickly. Push that away. And now we're pretty much done with the illustration. One last little step we can do is go down to image size and reduce it to 50 percent and that'll give us an a nice sort of sharpening effect that we wouldn't get otherwise simply because we blew our image up at one point. So if we bring it back down we get this great sharpness to it and that is really good for print quality since we're making it smaller. We're not getting artifacts. We're getting a sharpening that really as that extra degree of crispness and that will help us to make it look even a little bit more professional assuming that the other stuff is in place just gives the details more of a pop and everything. More of a slight contrast. So that's it guys thank you so much for watching this tutorial. I know you learned a ton of different techniques and tactics and tips. Don't forget to work on your images and continue to improve them in every single way that you can until you reach a point where you're ready to call it done. And remember to thumbnail and practice practice practice. Thanks again for watching and I will see you in future series.