Two Tone Shading
A free video tutorial from Austin Batchelor
Concept Artist and Illustrator
4.5 instructor rating • 14 courses • 204,833 students
In this lecture students will learn about two tone cell shading.
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12:24:45 of on-demand video • Updated May 2018
- Digitally paint in a variety of styles.
English [Auto] All right so now we can sort to add in our shadows. I have a new letter that I created. It's on top of everything else except for fun line. And we haven't said to multiply. We're going to pick a light purple color to do my shadows in and we're going to Slichter feebler 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. And so this period 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 want it to be shading or subsetting obviously but you want it to be really Chris I'm switching over to my studio paint now so I can get some sharper lines. But I don't want any blending. That's what we're trying to do. Or did sitting here under the eyebrows brow ridge you could really see that as research to do this. He really starts to take form really see some of his dimensions and it shapes over here to this side of his ear. Thinking about where the light is coming from which I'm imagining is coming somewhere from roughly above left somewhere. Ok I'm keeping that in mind as I go to make sure I get the angle of the shadows right. I mean I take my research to clean that up a bit my hard 30 years here. Bring it around to his nose just a little bit his teeth here. So there was a lip his jaw right here behind his ear. Why pick a different brush because this one was giving me some problems a little bit. That's better right. Let's move over to his body some more so he can get bottom of his neck here are going to be pushed back and just shatter pics here workers are trying to make sure we get some nice pointy shapes in there. We hope to find some of those muscles. And here a bit more color. It does borrow bracer will probably do after as well as come back. It's our Jesmyn Slaters and just lighting up lay up this purple a little bit because we're going to do really two and three time show examples to tone as well. There's only basically two tones with your shading right there's a light dark and maybe a few highlights that you might want to add and then three tone is where you have an extra layer of shadow. So we're to do both but if we're going to do three totum 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 finished with it or go through in six real quickly it's to do a shadow for its horns as well as for his head onto his own chest. So there was a set of his horn and then his head that cast a shadow here. So that in perfect is the center of his head there. Enough harm to his belly here. A piece of his belly button. Oh this will be set down here. It and it's whatever you wanna call it other foot pretty excellent so far just do it. This strap here is going to be a little bit of shadow from the strap and then it will get a little bit further away from his body. It kind of lifts up in the air there so that then we can get some detail on the strap. So a little bit at the bottom of the straps on the buckle. Good buckle in there perfect shadow on that little vials because there is a shadow underneath. Excellent. A little bit of shadow on these pouches here. Maybe it's being cast by the flap. Awesome. And then we get a little bit there. Perfect. Let's do. Let's move up here to his arm where he did this on everything over there. All right. OK then we're down here in this. I was finished actually. So bring my Berthas back up again. You put some muscle here next to his bracer. Well these little knobs and his hands are all that's left the ground. Perfect. Right. I think that looks pretty good. Let's do the last pieces down here so O'Shanter shatter whereas this means that shadow from his body here. Perfect. And in either few bits he said we want to add. All right. So I'm going to go in and take that it's going to go to Mayhew's centers and Braden's them my bring up the saturation. Most are going to break. So it's not so dark. OK. Right there. Looks good. So there you go. If you want to tone shading this is where you stop. You could call this finish third a background and then we're going to keep going wider background. And we're also we're going to go to touch and see you can see what that looks like. So that's it for this lecture. I'll see you guys in the next one.