Shinny Surfaces

Jaysen Batchelor
A free video tutorial from Jaysen Batchelor
Illustrator & Designer
4.5 instructor rating • 13 courses • 653,167 students

Lecture description

In this lecture students will learn how to paint highly specular shinny objects. We'll use a ball as an example and render it with a shiny chrome like surface.

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The Ultimate Digital Painting Course - Beginner to Advanced

Everything from drawing fundamentals to professional painting techniques

27:07:40 of on-demand video • Updated September 2020

  • Digital painting techniques
  • Drawing Fundamentals
  • How to create concept art
  • Color theory
  • Character design
  • Photo realistic painting
  • Perspective
English [Auto] All right. In this lecture we are going to be going over how to paint different materials and for this first one we're going to paint something shiny that is really reflective surface like a metal ball or something like that. So let's go ahead and jump in. We have this masked off so that all the layers you make will be in reference to this one as the ball mask. And that makes us want to worry about painting outside the lines. So let's go ahead and get started first or we're gonna do through a start by painting this ball as if it was just a normal matte shaped ball. So I'm going to bring my value down a little bit darker so that I can paint in my my shadows here. So I'm using a big soft brush and I'm just painting it in from the bottom I imagine the light source is coming from above and I'm going to switch back to my razor and kind of fade out a little more came. Then I go back to my brush. We're gonna get a brush that is a little smaller and go a little darker and just get the bottom there. Then I'm going to get my Eyedropper tool a little lighter so we can start doing the little spot a little bit lighter to our brightest spot. That's as far as we are going to take it for this layer. So now we go to a new layer here and on this layer we're going to start to paint in the background. So I want to color pick this table here because since this is a really reflective ball it's going to be reflecting everything around it. So I'm going to use let's use this hard round brush and I'm going to bring the hardness down a little bit though about sixty five maybe more like 70. All right. And we're going to start painting in this background. Some things you want to think about when you're painting is that this is basically like a mirror. But the mirrors curve so it's going to distort things around that curve so the table here is gonna be reflected in the bottom half because that's what the light is going to bounce off of as a bottom half of this ball and as it gets to the edges it's going to get more extreme the the distortion gets more extreme along the edges of your object whether it's a car. This ball here closely get to the edge of the more extreme that distortion is gonna get because it's turning away from you. All right then we are going to do. Let's get a little bit of a lighter color here to have be right there along sort of that horizon point of the table how much color picking for my table down here so we can get these colors all inside of this sphere and we can get a couple dark spots as well. I mean we have this knot of where we can put that in the All right call. Let's go ahead now and actually you know really quick I think that we could sort of clean up this uh transition here just a little bit. This curve all right. Next we're going to do the uh green here. Let's get a color pick some different parts of the green brush that on here once again the closer gets to the edges the more it will distort and the last part we're going to add is the sky. So that's going to kind of help determine it but for now we can campaign this inherit kind of quick and easy and you want make sure that you're kind of matching up both sides. It should be pretty symmetrical for this based off of our light source and the object itself being a ball time. I think we could probably get that a little higher up on the ball there and both sides. It's like I said it's really going to the store on the edges. Then let's go ahead and start picking just a few bits of variation for these leaves here. I'll bring my brushes down and get some of the finer markings in here. I'm not painting it's super crazy detailed. We just kind of want to suggest the reflection that's coming through I was making as little marks if you want. You could even just use a leaf brush honestly where you can keep it simple for this. The other thing too is that it's going to be uh you won't be able to see this a ton because we're gonna kind of you race it out just a bit and see around the edges here those markings are gonna get really along gated because of that distortion and then slowly less. So the closer they get to the middle try and do a couple more passes here some different colors do this light green color and then we'll do more of that yellowish color here all right. Perfect. And then now we're gonna do the sky so we don't have anything to color pick from for the sky because it's off the screen. But as the artists we know it's there. So that's sort of the really light blue and almost white. So we start for painting and the skyline and we can just start to go over part of our green there okay. And then we can bring that green back up a little bit as it warps around those edges there I'm going to get pretty much white to do a quick band of that right along where that sky kind of comes down and then get a little bit darker more saturated blue to come in up top here. It's got blindness like we learned in our blending lecturer right next for me to do. I'm just going to lower the opacity and this layer just a little bit so that we can see the I mean it'll be really subtle but you'll be able to sort of barely see the lighting coming underneath. Now what we need to do we're gonna make a new layer that is underneath the ball layer that is outside of our clipping mask. And this is gonna be a shadow layer I said to multiply and we'll go ahead and go with a slightly warm brown color get a nice big soft airbrush like that. Now we have a shadow where we can do is we can come back to the reflective layer and color pick our table now so that we can paint in what we want it to look like. Uh to make it a little more accurate with the reflection there. So the bottom of that is just gonna darken up and then fade away just like it does on the table here. And then also because of Amber's inclusions can get really dark grey at the bottom and same with their shadow layer or on the dark matter right there the bottom two. And then the last thing we need to add we're gonna come to this chrome layer and we're gonna get any racer tool and I get a nice soft brush. And the more something turns away from you the more you'll go to see its reflective qualities the more something is facing you the more subdued this is gonna be so like if you're outside and you look at a car you'll notice that as the car turns away from you maybe on the hood or the roof it starts to reflect the sky more and looks at the blue. But the parts that are purple and or that are parallel to that are facing the viewer you get to see more of the true color of it. So we're going to sort of simulate that here a little bit just by lightly. You're racing out the middle portion of the sphere actually know what this is supposed to be like high shining. So for this one we can actually just leave it. Honestly we can do that on maybe like gloss this one. We can. We can pull it off like that. The next thing we need to do though is do the final highlight. So we're gonna make one final new layer since this is so reflective and it's reflecting the sun. And we go all the way white with it and I'll pop that highlight in right there in the sky where we would imagine it would be actually. All right let's do a little bit of it because we're gonna have a little bit of a corona first. So let's do that. Create that Corona and then we'll do the highlight and a little trick for doing highlights that look really hot is making the corona barely warm color and then making the actual brightest light part a cool color and it gives us the effect that feels like it makes it feel like if you look at the sun too long and it kind of makes things look I don't know what the word is. You might have experienced it. I think that we need to make the Corona a little lighter. Let me go back. I mean they should pretty much be the same one should just be warm and it'll be cool I'll make it smaller to all right and then go to blue and make it hard Arrigo perfect. You can see it kind of makes that weird almost like vibrating effect when you look at it like when you if you've ever looked at the sun which if you haven't. Good for you. Don't start now. But if you have you'll know what I'm talking about. So there we go. Reflective services the way to make them look really realistic is really know that distortion and to make sure that you're picking up everything that would be in the reflection. So if you really want to make this even more realistic I mean it looks fine how it is but if you want to really detail those leaves out and pick up every single little detail in there can make you look a lot more realistic. But there you go. That is it for painting shiny surfaces. And I will see you guys in the next lecture.