In this lesson we will draw unusual character. However, the lesson is different from the ones we usually publish. Not here detailed descriptions technician, but it is clearly explained what steps need to be taken to create such an illustration. We strongly recommend that you do not try to repeat the lesson step by step, but work on the same steps, but with your own illustration, using the lesson as a guide and source of inspiration.
Result
Step 1
We create new document. Choose the size at your discretion, but try to maintain approximately square proportions.
Step 2
Let's make sure that the Shape dynamics and Transfer options are enabled.
Step 3
First, let's create auxiliary lines and lines of movement, on the basis of which we will create the character’s body.
Step 4
We are still working out the details at the sketching stage.
Step 5
Create a new layer and work in it as if it were a clean sheet.
Step 6
Add gray background, which will help us work with light, since by design the image should be dark.
Step 7
At this stage, we correct the lines that seem imperfect to us and add details, perhaps some kind of description, story, that complement the picture.
Step 8
Adding base colors.
Step 9
Set the sketch layer's blending mode to Multiply and adjust its transparency so that you can see the lines as a guide.
Step 10
Select the layer with the color for the face and draw highlights and shadows.
Step 11
Create a new layer on top of the original and hold down the ALT key and click between the layers. The top layer will become a clipping mask for the bottom one. Now you can safely draw in this layer without fear of ruining the outline.
Step 12
Make sure each body part has its own layer group. Make sure that the layer system is clearly organized.
Step 13
In this step we can adjust the details and proportions of the body that we like less or now look different.
Step 14
If you want to add details that were not included in the sketch, find references so you can clearly understand what exactly you want to draw.
Step 15
Step 16
To color correct new parts, create a new layer in Multiply mode, make it a clipping mask for the original layer, select a color from your palette that matches the part you are editing, and paint.
Step 17
Add additional details, without going beyond our palette.
Step 18
We repeat the previous steps where we want to add details.
Step 19
We work on the legs in the same way: adjusting the color and adding details.
Step 20
During the drawing process, you may have a desire to redo some parts of the drawing. In our case it is a sword.
Step 21
Adding finishing details.
Step 22
Make sure you finish redesigning what you wanted to redesign and move on.
Step 23
In this step we will do free drawing: without sketches, just brushes, taking into account, of course, the color palette of the image.
Step 24
Make sure you don't go outside the color palette and move on to the next step.
Step 25
Several additional effects to create an ambience.
Step 26
Turn off the layers with the character and take on the background. Making free strokes on dark background to highlight the character.
Step 27
Place all the layers in a folder with the appropriate name and apply Photofilter.
Step 28
With a photo filter, the color temperature becomes more uniform throughout the entire work.
Step 29
Unleash creative impulses and add unusual details.
Step 30
To make colors and color temperature more compact, create a new layer in Multiply mode, and add shades to it with the color that is most prevalent in the image.
Step 31
Now we have a folder with everything we have. Duplicate it and combine everything into one layer. We turn off the visibility of the original folder, but save it.
In this tutorial, I will tell you how to create a cartoon character in Photoshop. Let's get started!
Source materials
The following source materials were used in this tutorial:
Step 1
When creating characters, start by mechanically drawing a sketch of the future character in order to choose the shape and proportions, this is a good way to get something interesting, and good start to create the basis for what the final creation will be.
Step 2
Once the idea is clear, let's start creating. Create a new document, fill this document with a bright orange color, I usually start by creating the eyes, for me they are the focal point of the character, which reflect the special character traits of their owner, and why are they asymmetrical? The answer to this question is simply personal preference; I prefer to draw my characters' eyes in this manner. Therefore, first draw two circles using the Elliptical Marquee Tool (M), for this create a new layer, call this layer “Eye Base” and fill the base of the eyes with white, then apply Layer Style (Layer Style), option Shadow (Drop Shadow), as shown in the screenshot below.
Step 3
Next, let's create the iris of the eyes, to save time we will create one iris for one eye and then copy and paste it to the other eye. In the middle of the white circle, create a circular selection using the Elliptical Marquee Tool (M), to do this, create a new layer, call this layer “Right Iris”, and then fill the iris with a light blue color. To create the effect of the convex surface of the iris eyes, create a new layer, name this layer “Iris Shadow”, change the blending mode for this layer to Overlay (Overlay), layer opacity 100%, and then apply a gradient from black to transparent, as shown in the screenshot below.
Step 4
For the texture of the iris, you need to create a special brush, which will later be useful when creating the character’s fur. Hide the visibility of the previous layers that we created before, next, create a new layer and using the Pen Tool (P) create a vertical line, and then using the Convert Point Tool, create a bend in the line like shown in the screenshot below. Next, in the Brush Presets palette, select the Flat Point Medium Stiff brush, then right-click on the layer to display the context menu, in the menu that appears, select the option. Stroke the contour (Stroke Path), in the window that appears, check the Simulate Pressure box, play with the brush size to get thin line with fuzzy ends. Next, go to Edit – Define Brush Preset and save the created brush, name the brush as a brush for creating bristles or you can name the brush differently. Translator's note: the brush that the author chose in this step is included in the standard set of brushes in Photoshop versions 5 and 6.
Step 5
Once we've created the brush, it's time to customize it. Go to the Brush Settings (F5) tab and in the Brush Tip Shape option, move the Spacing slider, and in the Shape Dynamics option, set up the control parameters, as shown in the screenshot below, play with these settings, try to test the brush until you get the style you want, the idea is to paint a ray-like texture of the iris of the eye. Create a new layer, call this layer “Iris Texture”, place this layer below the “Iris Shadow” layer. , change the blending mode for this layer to Soft light (Soft Light), layer opacity 100%, select black color and draw a texture pattern Next, using the Smudge Tool, modify the lines a little so that they do not look standard.
Step 6
Repeat the same operation you did earlier, but this time using white. Create a new layer, name this layer “White rim of iris texture”, change the mode for this layer to Soft light (Soft Light), layer opacity 100%. We need to lighten the area opposite the shadow, so we use a layer mask to hide the top right corner of the layer.
Typically, the iris is darker around the edge. Create a new layer. Name this layer “Iris Stroke”, change the blending mode for this layer to Multiply, layer opacity 60%, using the Wand Tool (W) create a selection around the iris of the eye, then go to Edit - make a stroke ( Edit > Stroke), select a position relative to the border Inside (Inside Location), set the stroke width to 4 px, then use the Smudge Tool to smudge the stroke a little to better align with the texture.
Step 7
The iris still needs some work to make it look more convex, so duplicate the “Iris Shadow” layer. Change the blending mode for the duplicate layer to Multiply, layer opacity 90%, now we have a more convex iris.
So, it's time to create highlights on the iris. Create a new layer, name this layer “Highlight 1″, change the blending mode for this layer to Luminosity, layer opacity 100%. Next on this layer, draw a white round rim in the form of a ring with a diameter smaller than the diameter of the iris, for this use a soft round brush with low opacity. Next, create another layer “Highlight 2″, change the blending mode for this layer to Lighten, layer opacity 57%, enhance the highlight at the bottom of the iris with additional white strokes, and also use the Smudge Tool ) to simulate the surface of the iris.
Step 8
Next, draw the pupil. Create a new layer, name this layer “Pupil”. Draw black dot in the center of the iris, then, using the Smudge Tool, slightly smudge the edges of the pupil. Now, we will add a reflection on the retina, create a new layer, call this layer “Reflection on the retina”. Draw white spot in the upper right corner, smudge the edges a little using the Smudge Tool. To simulate a reflection, also using a brush and finger, paint and smudge blue and orange highlights on the lower left side to create a reflection off the blue light and the character's surrounding red fur.
All reflective surfaces have a strong contrast between light and shadow, and in order to achieve this, create a new layer, call this layer "Retinal Shadow". The blending mode for this layer is Normal, layer opacity 60%, place this layer below all the layers with the iris and pupil. On this layer, draw a gradient from black to transparent at the bottom, just opposite the light. Finally, after creating the reflective highlights, create a new layer and name this layer "Orange Tint". Change the blending mode for this layer to Multiply (Multiply), layer opacity 30%. Create a selection of the eye and fill the active selection orange, the background color, due to this, the surface of the eye will reflect the color of the fur around the eyes. Translator's note: in the last step, the author creates the color of the eyeball using tint orange color. The author places the “Orange Tint” layer below the “Retinal Shadow” layer.
Step 9
The last effect will be the reflection of the horizon on the surface of the eye, for this, create a new layer, call this layer “Horizon Reflection”. Change the blending mode for this layer to Soft Light, layer opacity 20%, using black, draw a curved line in the middle of the eye, fill the area below this line with black, and then use a layer mask to hide the extra areas that were drawn outside the border of the iris.
Step 10
Merge into one layer all the visible layers that were used to create the eye, with the exception of the “Eye Base” layer, name the combined layer “Right Eye”, duplicate it, name the duplicate layer “Left Eye”. Being on the “Left Eye” layer, go Editing – Transformation – Scaling (Edit > Transform > Scale) to scale the left eye, then, using the Move Tool (V), move the left eye to the appropriate place. Merge the layers with the eyes.
Step 11
The eyes are ready, it's time to start creating the body. Create a new layer on top of the orange background layer.
Select a soft round brush in black and with this brush start drawing the shape of the torso, you don't have to be precise, just outline the basic shapes. Next, go Filter – Liquify (Filter > Liquify) and using the Forward Warp Tool (W), give the created shapes such as arms, legs, cheeks, head a more detailed look. Translator’s note: 1. in the screenshot below, You can see that the author has temporarily turned off the visibility of the orange layer so that you can clearly see where he applied the brush 2. Name this layer “Body Base”.
Step 12
Next, we'll add detail along the edge of the torso outline, to do this we'll first use the Smudge Tool and then a Hard Round Brush. Start with large tufts of fur, gradually changing the brush size as you go to get the best result, the more freely you do this, the more realistic the character's fur will look. Also change the direction and angle of the strokes applied while creating parts.
In the next step, apply a 14px Splatter brush, this brush will give a more torn effect; Also vary the size and angle of the brush to get a great result. After using the Finger tool, use a brush small size to create thin hairs so that they are slightly curved.
Step 13
Next, we will draw the eyebrows. Create a new layer, call this layer “Eyebrows”, placing this layer on top of the eye layer. Using the Rectangular Marquee tool ( Rectangular Marquee Tool (M), create a rectangular selection above the eyes. Fill this selection with orange, the body color, and then apply Layer Style, Drop Shadow option and apply the settings shown in the screenshot below. Once again use the Finger Tool and the 14px Splatter Brush to create the eyebrow hairs, since we applied a shadow to the layer, each stroke we apply will project its own shadow, giving us the effect of depth. Translator's note: 1. in the Shadow option, you can use a dark brown shade # 683506. 2. the author first draws the hairs for the eyebrows using a hard round brush, the color of the brush is one of the shades of dark brown, play with the opacity of the brush, you can use an Opacity value of 75% and then blur the rectangular orange selection with the Smudge Tool, which will create a shadow on our hairs, giving them a depth effect.
Step 14
Using the Fur texture, which you can download from the link at the beginning of this tutorial, we will create a fur base for our character. Using the Polygonal Lasso Tool, select the fur areas on the texture, then copy and paste them onto our working document (each fur area on a separate layer), once you have placed the fur area on a new layer, use move or rotate in accordance with the direction of the hair, the arrows in the screenshot show where the hair on the head and body should be directed. In some cases, it is necessary to use the Warp Transform Tool to correct the direction of the fur hair.
Next, using layer masks, hide unwanted or excess areas of fur, while maintaining small areas at the joints, avoiding the appearance of voids where there is no texture.
Step 15
Next, we will connect the fur sections, first, set the blending mode for all layers to Multiply, opacity 100%. On the layer mask of each layer, use the Finger Tool and a 14px Splatter Brush to blend adjacent areas of the fur. Observe the direction of the fur to avoid sharp transitions between sections of the coat. Setting the Strength for each stroke throughout the entire process will help achieve best results. Don't forget that we are not painting over the transition between sections of the fur, we are simply processing the areas on the layer mask using the transparency of the layer mask, therefore, on the layer mask we are using black or white brushes in order to hide unnecessary areas or to undo action.
Once all sections of the wool are combined, combine all the layers with the wool. Change the blending mode of the merged layer to Multiply, then go to Filters > Sharpen > Smart Sharpen and apply a sharpen amount of 50%.
Step 16
We need to draw a mouth to give expressiveness to our character. Create a new layer, name this layer "Mouth". Change the blending mode for this layer to Multiply (Multiply), layer opacity 100%. Select a hard round brush, set the brush size to about 3 px and then draw the line of the mouth, and then lightly use the Smudge tool to create an imitation of hair around it. Our character's body still has no shape, to fix this, create two new layers, set the blending mode and opacity as shown in the screenshot below. What we will do is draw shadows to give the body shape, body parts such as paws, chin, eye sockets, etc., use black for this, and also play with the opacity of the layer.
Step 17
In this step, we will add a side blue light that will enrich our color palette. Create a new layer, name this layer “Blue Light”. Change the blending mode for this layer to Color (Color), layer opacity 100%. Select a soft round brush and brush strokes on the left side of our character, then use the Finger tool and a 14px Splatter brush to blend the side light with the fur texture.
Step 18
Now begins the stage where we add additional fur to the areas on top of the main fur base, which we created from the real fur texture. Select the brush we created in Step 4 and then go to the Brushes tab (F5), where we have to play with different settings for the Brush Tip Shape option. First, the brush size, each time the brush size to create fur hairs will vary depending on the part of the body, the hairs will be shorter or longer. Another option is the Angle setting, this option is necessary to adjust the location of the fur hairs. in the right direction according to the direction of the fur in Step 14. Finally, the Spacing option will be used to adjust the spacing of the fur hairs, on open areas like the belly the hairs will be more spread out, while on the cheeks the hairs will be closer together.
Step 19
With the Shape Dynamics option, we can have more control over the direction of the coat, by adjusting the Angle Jitter option we can create a ruffled coat, and by adjusting the Roundness Jitter option, the coat will be more wavy. Well, let's have some fun creating fur for our character.
Step 20
To create the fur, use two new layers. Call one layer "Red Fur", on which we use an orange color, lighter than the color of the body. Name the other layer “White Fur”, on which we will draw white fur. Blending mode for both layers is Normal, layer opacity 100%. The layer with white fur should be placed on top of the layer with red fur. As you can see in the screenshot below, don't try to cover the entire torso with extra fur, just add fur on some areas of the body that will help complement the surface of the fur. Create an additional layer "Shadow under the eyebrows", select more dark shade orange color to draw shadows in the eyebrow area. Translator's note: when creating shadow under the eyebrows, you can use the same brush as when applying additional fur.
Step 21
For the white strand of fur that runs down from the chin to the chest, we once again used a piece of the Fur texture. Using the Lasso Tool (L) or the Elliptical Marquee Tool (M), select a strand of fur, and then copy and paste it onto a new layer. Name this layer “White Strand”, the blending mode for this layer is Normal ( Normal), layer opacity 75%. Next, to the layer with the strand of wool, apply a layer mask to hide the excess areas of the wool. Next, we will give the strand of wool a white tint, for this we go to Image – Correction – Levels (Image > Adjust > Levels). ) and move the right slider to lighten it.
Step 22
Make the fur hairs a little curly, and also make small corrections to the direction of the hairs using the Finger Tool (Smudge Tool), using high value Strength (Strength), add more detail to the hairs of the fur.
Step 23
At this point in the tutorial, I decided to lighten the area under our pet's eyes a little. To do this, create a new layer. Name this layer “Highlight Adjustment”. The blending mode for this layer is Normal, layer opacity 25%, then use an orange brush, the color of the body, to paint around the eyes.
Step 24
So let's start creating the background, we need to go down in the layers palette. Create a new layer on top of the “Base Body” layer, name this layer “Blue background”, blending mode for this layer is Normal, opacity 35%. Choose medium shades blue, then using the Gradient Tool (G) from blue to transparent, drag the gradient line from top to bottom. Next, go to the “Base of the Body” layer to create a selection of the body using the Quick Selection Tool (Wand Tool (W), apply inversion and, without removing the active selection, go to the “Blue background” layer and add a layer mask to this layer to cut out the outline of our pet’s body on the blue background.
Step 25
Create a new layer, name this layer “White Highlight”. Change the blending mode for this layer to Soft Light, layer opacity 75%. Next, copy and paste the layer mask we created in the previous step onto our new layer, also selecting the pet’s body. Next, select the Brush Tool (B) with a soft round brush white. Draw a large enough white spot behind our pet's back to create a white highlight in the background. Translator's note: in order to copy and paste a layer mask, simply hold down the Alt key + left-click the layer mask, and then drag it to a new layer. The layer mask will automatically be copied to a new layer.
Step 26
To create the ground on which our pet will stand, we use the gravel texture, which can be downloaded from the link at the beginning of this lesson. Move the texture onto our document, name this layer “Earth”. The blending mode for this layer is Normal, opacity 100%. Next, go Editing – Transformation – Perspective (Edit > Transform > Perspective) and transform the ground area in accordance with the character’s perspective. Next, using the Elliptical Marquee Tool (M), create an oval selection of the ground on which our pet will stand. Then, without removing the selection, go to Select > Refine Edge and apply Feather Radius Edge) 15 px, finally, apply a layer mask. In order to hide the areas of the texture where it overlaps the paws of our pet, go to the “Base of the Body” layer and use the Wand Tool (W) to create a selection. pet's torso, then select the Paint Paint tool ( Paint Bucket Tool (G) and fill the layer mask with black. Translator's note: after you have created an active selection of the pet's body, go to the layer with the ground area, add a layer mask to the layer with the ground, and then go Editing - Fill and fill the layer mask with black by clicking on the layer thumbnail in advance - masks to make sure that the layer mask is active and then we will fill the layer mask, and not the area with the ground itself.
Step 27
To balance the surrounding color with the ground, create a new layer and name this layer “Blue Tint”. Change the blending mode for this layer to Color, layer opacity 35%, then fill this layer color tone, which we used to create the gradient.
Step 28
Finally, we need to create a shadow from our character that will be projected onto the ground. Create a new layer, name this layer “Character Shadow”. Change the mode for this layer to Multiply (Multiply), layer opacity 71%. Select the Brush Tool (B), select a soft round brush of black color and then draw a shadow.
Step 29
We have completed the creation of our character and background, all that remains is to add the vignette effect, for this we go to Filter-Distortion Correction (Filter> Lens Correction) and apply the values that are indicated in the screenshot below.
Step 30
To make the image a little clearer, go to Filter > Sharpen > Smart Sharpen and apply the following settings:
Conclusion
To finish the job, merge all layers. I usually create a duplicate of the merged layer and then work on the duplicate of the original layer. Next, make a small correction using levels, for this we go Image – Correction – Levels (Image>Adjustments>Levels) to enhance the contrast.
In this tutorial we'll show you how to use Illustrator and Photoshop to create Boomrock Saints characters. I hope this guide inspires you to use this technique to develop your own style illustrations. Try to create a quality sketch from the very beginning, and you will have much more fun turning her from black and white into a color character. So let's begin!
Step 1
Create a new document measuring 1600px x 1600px and select a light gradient for the background. Add a new layer to your document and start sketching out your characters.
When using a tablet, I usually select a standard 3px brush with a color slightly darker than the background. To further control the pen pressure, I check “Shape Dynamics”.
Step 2
Reduce the "opacity" to 50% and add two new layers - one for each character.
Use these new layers to go into the rough sketch lines and clean them up a bit and add detail. Be careful and try not to mix up the layers, so you can change the position of the characters later if necessary. It would be a good idea to name them as in the images above. From this point on, the characters begin to take shape. It is completely normal if everything in the drawing remains careless at this stage.
Step 3
Add a new layer between the first “sketch” and the character layers and name it “color”.
Use this layer to experiment and roughly sketch out your characters using your chosen color palette. In this case, the group wanted something in a guerrilla style, so naturally I chose khaki colors.
Then add lighting and shading by eye. I made sure the main light source was to the left of the characters to maximize illumination of exposed skin/clothing. Those parts that are covered will be left as is, or obscured if they are behind another element, such as the right side of Brian's torso being covered by his right arm. Likewise, most of Josh's torso is shadowed on the left side because it is obscured by Brian, who is directly in front of him.
Step 4
Once you are happy with the result, you can start illustrating in Adobe Illustrator to clear the outlines. Hide all layers except the outline, save it as a jpeg and open it in Illustrator. Since I've been using a tablet, I can work on outlines with a tablet pen even better than with a mouse. Those who do not work with a tablet can also complete this part using the pen tool. There are many tutorials available online on how to use the pen tool in Illustrator, as well as many other different techniques. This method is the one I prefer.
Create a new brush by opening the Brush Palette and clicking on the “new brush” icon at the bottom. In the dialog box that opens, select "Calligraphic Brush", click OK, and set the angle, roundness, diameter, and variation of this new brush to the parameters shown below.
Select the contents of your layer by clicking the circle with right side layer in the Layers palette. Reduce the "opacity" to 30% and lock the layer. Use black for the border and nothing for the fill.
Step 5
Now we are ready to start cleaning up the outline. When drawing an outline, try to change the thickness of the lines to achieve a more dynamic effect.
A few quick tips to keep in mind when working with line thickness:
1. Create the illusion of depth. If an object or person is closer to you, the lines will tend to be thicker. Therefore, if a given drawing was set against a cityscape, the lines that make up the cityscape will be thinner than the character's lines.
2. Pay attention to the light source. Where the light is brighter, the lines will tend to be thinner. Where the light is dim, the lines will tend to be thicker.
3. The outer lines of an object or person will generally be thicker than the inner lines. This will help distinguish this item or person from others.
4. Extend the ends of the lines that intersect with another line. Take a look at the picture below to see what I mean.
When finished you should have something similar to this:
Step 6
Now we can open the file again in Photoshop and start coloring and processing. Export the file from Illustrator (File > Export) and select "Photoshop" from the drop-down list. In the dialog box that opens, set the resolution to high (300dpi) and click OK.
Step 7
For this part I usually do, I create a separate layer for each color or element on each character underneath the outline layer. So it will look something like this:
Then, I simply color each element on their respective layers. You may also notice that I lightened the outlines of each character a little. In my opinion, this makes the illustration more natural look, in contrast to dark contour lines.
Step 8
Now that we've painted the characters, all that's left is processing. I usually start with shading and work my way up to light distribution. Create a separate "Shading" layer above the main color layer for each element. Now, using the painted image from step 3 as a reference, darken the characters using a brush set set to about 60% hardness.
My technique is to select any element that I'm darkening by Command/Ctrl-clicking on the layer icon and barely touching the areas that need darkening.
Do this with all the elements and characters and you should end up with something similar to this:
Once you've seen the result and decided that some of the dark areas should be even darker, you can create a new layer just for the dark areas and use the same technique as above to color it. Having dark areas in your illustration helps create a more dynamic result.
Step 9
Next we deal with light distribution. Add a new layer above the "Shading" layer for each element. With the "Lighting" layer selected, use the same technique with Command/Ctrl and clicking on the layer icon to select their contents and add some light where needed.
To create reflections for the shadows, use the pen tool to create a shape around the inner perimeter. Then right-click on this shape, click on the "Make Selection" button, and click OK in the dialog box that opens. Once the shape is selected, select white as the color and use the gradient tool to create subtle reflections by dragging from top to bottom at a slight angle. Once you're done, reduce the opacity of this new layer to about 30%, or whatever percentage makes the image look the way you want.
Step 10
Finally we add finishing touches, such as the tattoo on Brian's arm, the logo on Brian's shirt, the SF logo on Brian's hat, and some additional lighting on both characters to really focus on the light source.
Here's the method I used for Brian's tattoo.
After seeing all the illustrations completed, the group asked if they could make Brian "tougher" to reflect more of his natural qualities. So I made a few quick adjustments, widening the torso a bit and adding some definition. right hand, which you can see in the final image below.
Lesson details
- Application: Adobe Photoshop
- Difficulty: Advanced
- Lesson time: 2 hours
Final image preview
In this Photoshop tutorial, we will explain how to draw a cartoon monster. Let's get started! This lesson is working together with the talented designer Bei Hasan.
Before you start: Do your research
For this project, the clients requested that the character be a funny Sudanese monster. To begin our first step do some research. One of the most notable characters can be found in Wayang Golek. In Wayang Golek, there are a lot of funny and cute characters called Si Cepot. You can easily find a lot of links to Si Cepot with a little Google.
Our character will look like Cepot, with a worn-out Sarunga on his chest. The Sudanese Sarunga usually has a checkered pattern, as in the image below.
Step 1: Sketch and Stroke
Our first step is to draw a sketch. Have paper and pencil ready. The traditional way is always faster. Even a powerful tool like Wacom will never replace pencil and paper. Start drawing the character with the torso. Use an HB pencil to make fine lines.
Step 2
Give more definition to the character using a 2B pencil.
Step 3
Scan the sketch using a very high resolution and then open it in Photoshop. Press Ctrl+L to open the Levels dialog box and then move the slider until all edges are black.
Step 4
Activate the Brush tool and open the Brush panel. Reduce the distance and activate Shape Dynamic. Set it to Pen Pressure so that the brush gets a tapering effect based on how much pressure we use while painting.
Step 5
Create a new layer. We did the outlining and cleaning earlier.
Below you can see the tapering effect made by the Dynamic Shape options in the Brush panel.
Step 6: Sarung
Here we will work on his Sarunga (clothes). Keep your layers organized good idea To do this, use layer groups. In the chanting layers, do new group layers and name it “Sarung”. From this step onwards, place all of your images on a new layer within this group.
Select the Sarung on his chest by clicking the Magic Wand tool. If your selection extends beyond the sarung, this means you have unconnected lines on the sarung and first you need to eliminate this. If you can't select the entire sarunga at once, you'll need to add more selections by holding down the Shift key and clicking on the area you want to select.
Step 7
We want to make sure that our selection is a little larger and doesn't have any gap between the selection and its lines. Go to Select – Modify – Expand, increase the selection by 1 pixel. Set the foreground color to #daccba.
Create a new layer and place it under the sketch. Activate the Paint Bucket tool and click inside the selection to fill it.
Step 8
Activate the Brush tool. In the brush panel, reduce its Hardness and Size Jitter to 0%.
Step 9
Draw a dark shadow on his sarung. No need to worry if the result is rough.
Step 10
Go to Filter – Blur – Gaussian blur (Filter – Blur – Gaussian blur) to soften the shadow.
Step 11
Remove unnecessary shadows outside the sarunga.
Step 12
Repeat this step again to add shadows.
Step 13
Draw a stripe inside the sarungi to add a pattern.
Step 14
Remove unnecessary stripes from outside the sarunga.
Step 16
Draw black lines on the sarung using a Brush with 100% hardness. Reduce the opacity to 10%.
Step 17
Draw a shadow for the head.
Video drawing lesson simple character in Photoshop CC. Show your work in the comments to the video
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To book a course and receive a discount, you need:
1 - Like this episode
2 - Go to my VK group: http://vk.com/mrgraferon
3 - Repost the post with the lesson for which you want to receive bonuses (and do not delete it)
4 - Send me the following letter to mrgraferon[dog]mail.ru:
a) Real name
b) Link to your VK profile where the repost was made
c) Your nickname on YouTube
d) I would like to book a course "Character Creation"
e) Tips for improving the project
f) What courses/lessons would be interesting?
You can ALSO take advantage of a PAID SUBSCRIPTION!
In this case, all bonuses and useful materials will be sent to your email automatically after publication!
Read more here: https://vk.com/mrgraferon?w=page-60612830_50023762
THIS LESSON WILL HELP YOU IF YOU WERE LOOKING FOR: - - - - - - - - - - - - - - - - -
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