Two Tone Shading

Austin Batchelor
A free video tutorial from Austin Batchelor
Concept Artist and Illustrator
4.6 instructor rating • 14 courses • 214,646 students

Lecture description

In this lecture students will learn about two tone cell shading.

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The Digital Painting MEGA Course: Beginner to Advanced

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12:24:45 of on-demand video • Updated May 2018

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English [Auto] All right, so now we can start to add in our shadows, I have a new layer that I created. It's on top of everything else except for our final line art. And we have it set to multiply. I'm going to pick a light purple color to do my shadows in and we're going to select our shapeless. They're making sure we don't go outside any lines. And I am going to make sure I'm using a nice, hard brush, OK? And we're going to come in here and start painting in our shadows. OK, so we're set up here, this horn. Other horn, and you want to make sure that you have those really crisp, clean lines, right? Make sure that we're not getting any you don't want any sort of like a shading effect. You want it or you do want it to be shading. We're celebrating, obviously, but you want it to be really crisp. So I'm switching over to my studio open now so I can get some sharper lines. But we don't want any blending, that's what we're trying to avoid. Sitting here under his eyebrows, his brow ridge. You can really see that as we start to do this, he really starts to take form, really see some of his dimensions and his shapes, right. Over here to the inside of his ear. Thinking about where the light is coming from, which I'm imagining it's coming somewhere from roughly above left somewhere. OK, so keeping that in mind as I go in order to make sure I get the know the shadows right. And I'm going to take my razor to this, clean that up a bit, get my herd ready, Razor. Uh. Bring it around to his nose just a little bit, get his teeth here. Underside of his lip. And. His job. Right. Back here behind us here, I pick a different brush because this one is giving me some problems a little bit better. All right, let's move over to his his body some more. We're going to get the bottom of his neck here is all going to be pushed back into Chateau. Uh. It's pics here. Organizers are trying to make sure we get some nice pointy shapes in there, really help define some of those muscles. And here. Oh, better not go there. But this bottle. Bracer will probably do afterwards, as well as come back with our adjustments, sliders and just lighten up, lighten up this purple a little bit, because we're going to do we're going to have to tone down three tone. Just show examples. Two tone is one. There's only basically two tones with your shading. Right. There's a light, a dark and then maybe a few highlights. You might want to add. And then three tone is where you have an extra layer of shadow. So we're going to do both. But if we're going to do three tone, then we need this base layer that we're starting out with to be a little bit brighter than what it is, a little lighter because it's pretty dark right now. So after we finish with it, we'll go through and fix that real quickly. The. It's to do a shadow for his horns, as well as for his head onto his own chest, so there's a shadow for his horn and then his head be casting a shadow over here. All right, so that in. Perfect, there is a shadow from his head there, enough on to his belly here. It's. A piece of his belly button. All right, this will be shadow down here. They do is hand. And whatever you want to call it. The other foot toes. Pretty excellent so far. Let's do this strap here to give you a little bit of a shadow from the strap and then it will get a little bit further away from his body as it kind of lifts up in the air there. So let's throw that in. Hmm. Then we can come in here, get some detail on this, Treb. So a little bit at the bottom of the straps, little bit on the buckle, the. It's looking good. The Brooklyn, they're perfect for shadow on their little vials or because they're the shadow underneath. Excellent. A little bit of shadow on these pouches here, maybe it's been cast by the flap. Uh. All right, awesome. Then we can go a little bit in there. Perfect. Let's do let's move up here to his arm. How early did the song set everything over there? Yeah, that looks right. OK, then we're done here on this. I'm almost finished, actually, so bring my birthdays back up again. Few bits of muscle here, excellent lips to his bracer. As well as he's a little nuts and just his hands are all that's left the ground. Perfect. All right. I think that looks pretty good. Let's do the last pieces down here so we'll shatter where his fists meets it and shatter from his body here. Perfect. And then in another few bits of shadow, we want to add to the ground. All right, so I'm going to go ahead and take this kind of a go to my shoe situation, bravissimo, bring up the situation and also going to break it so it's not so dark, OK? Right about there. Looks good. So there you go. If you want to do to turn shooting, this is where you would stop. You could call this finish throwing a background in there. We're going to keep going out of background. And also we're going to go on to do two tone shadings. You can see what that looks like. So that's it for this lecture. I'll see you guys in the next one.