(dry swishing noises) (trumpet fanfare)>>(electronic voice)
TipTut.>>Hello, everybody, and
welcome back to TipTut, and welcome back to
“Intro to Animate CC,” or Adobe Animate. You can call it
whatever you like. Basically, in the first episode,
we ran through the interface of the system and the
different types of ways that you can draw
onto the stage. And today, we’re actually
gonna get to the fun bit. We really gonna
start animating. Now, before I get started,
I just wanna say two things. Number one, just because
we’re animating a stickman jumping about and
having a fight, that doesn’t mean
that these principles don’t apply to
anything else. It’s just I had a bit
of a hankering for it. So that’s what
I’m gonna draw. I haven’t drawn a stickman
fight since I was a kid. So I’m gonna
do it again. But the same principles apply
to any type of animation, whether that’s a
character face animation, whether that’s
a web banner. Any– really
anything. All these principles
can be applied anywhere. ‘Cause that’s what I’m
trying to teach you here. It’s not meant to be
a copy and paste job. So if you don’t
wanna do a stickman, if you just wanna watch along
and animate something else down the line, that’s
totally fine as well. Secondly, these videos
may or may not, from this point on, have
solid start and ends like the rest of
my tutorials do. Even when I split them up
in a series, they usually, you know, you learn X, Y,
and Z in this tutorial. This may be a bit
more free-form, purely because animation
takes a long time. Things may pop into
my head as I’m going. So, settle in, essentially,
is what I’m getting into here. So let’s just dive
right in, then. Hopefully, you’ve
watched Part 1. If you haven’t, go
away and watch it, ’cause most of this
won’t make any sense. If you have, great,
ready to go. So I’m just gonna dump
everything in a new scene then. First of all, just
watch this again. Guy jumps in the
air, he lands, and he blasts
off-screen, you know? Ball of fire,
wicked. Now, this combines
frame-by-frame, motion tweening,
symbols, and paint. So what we’re gonna do is
just insert a new scene, which gives
us scene 4. Now, you can tap
between your scenes using this
clapperboard here. So I’ve got scene 5 because
I’ve already made scene 4 then deleted it,
doesn’t matter. And we’re gonna just jump
up into our layer palette. Gonna create a
bunch of layers. First of all, we’re
gonna have the floor. Then, we’re gonna
have the guides. Then, we’re gonna
have the body. Then, we’re gonna
have a head. And then, we’re gonna
have effects 1 and effects 2,
okay? Now, we can add more of these
later on, that doesn’t matter. I’m gonna give myself a
bunch of frames with F5, that’s the shortcut. Just so that I’ve got a
little bit to work with. Okay, so let’s start off
then by drawing our floor, determining where the
floor of our scene is so that our character has
something to stand on. I’m gonna grab the
Line tool to do this, and I’m just gonna
Shift-click roughly a third up
from the bottom. And that gives us a nice,
gentle, easy floor to look at. It’s not overwhelming,
doesn’t get in the way. Now, with the
guides layer, I’m gonna try and determine
the height of my character. For example, if I want my
stickman to ultimately be about yea tall
from the floor that’s totally fine,
and I’ll split that in half again roughly
for his waist line. And what this means is
when I have him jump up in the air later,
if I have him land and be roughly
the same height, it’s gonna look a lot better
than if he’s squishing or stretching,
and when he lands, he’s suddenly half the height
that he was when I started. ‘Cause we’re gonna
animate straight ahead. So there’s two
techniques. There’s key posing
and straight-ahead. Key posing means that I’d
animate the character, for example, if I just
lock and guide that layer so you don’t
draw on it. If I, for example,
were to animate him in his starting pose, and
then draw another keyframe with him in his
next extreme, which is the point
where he stops moving in any certain
direction. So, for example, at
the top of his jump. And then, I animate him at the
bottom of his jump, landing. Like so. And then, again,
when he stood up. Then I’d go through, give
myself a bit of breathing room, and draw the frames
in between these. Say, for example,
between there and there would then obviously
be like this. That’s called “key-to-key,”
or “key pose animation.” What it basically
means is you determine all of your keyframes
that you need, all your sort of
extreme points, and then you go in between
those extreme points, and you animate the
in-between frames. Now, we’re not going to
be doing that today. We’re going to be
animating straight-ahead which means
from point one, you just animate the next
frame, the next frame, the next frame,
the next frame. The reason I’m doing
that is ’cause I don’t
really have a plan. I’m not sure what my character’s
gonna do in this circumstance. So why bog
myself down? I’m just gonna go
for it, I think. Okay, so let’s zoom
in a little bit then. And let’s start,
say, here. Now, I know that my character
is gonna have a head, so I might as well draw that
first in the head layer, because that does
determine the size of the rest of
the character. And what
I also do, so we can get into symbols
a little bit as well, is I’ll right-click on this,
and convert it to a symbol, and call it
“head.” I think I’ll
call it “head2,” ’cause I’ve already got
a “head” in my library. And then, I’m gonna drop
inside this head layer, okay, and now, I’m working on
just the head’s timeline. Okay, so if I drop
back into scene 5, you can see that this is the
timeline for the entire scene, and this is the timeline
just for the head which only has one keyframe
because, at the moment, we haven’t made
any changes. We did speak about
this is last episode, so if you don’t
understand, go back and watch
that bit again. So what I’m actually
gonna do is show you how internal timelines work
inside a symbol. And I’m gonna do
that with some eyes. So, for example,
here now, with inside of my head,
I now have a base layer, and on top of that, I have
an eyes layer, okay? Now, I’m just gonna draw
some big goofy eyes. Um… looks a bit crap.
(chuckling) Oh, that
looks okay. And then, on top of that,
I’m gonna have a pupils layer. Okay, now, I’m going
a bit quickly here because I’m not putting
as much effort in as I usually would. Purely ’cause I’m
illustrating a point. You can obviously take
as much time as you want, and I highly recommend you do
take as much time as you want getting your characters
looking the way you want. And all I’m
gonna do– I could go through and animate
these eyes really well, but what I’m gonna do,
because they’re very small on the screen, is I’m just gonna
animate a little blink cycle. Okay, so on the eyes and the
pupils then, for example, I’m going to take
both of these, grab our Free Transform tool,
which is Q, and I’m just gonna shorten
them a little bit, okay? Gonna move on
two more frames, gonna shorten them
quite a lot. And what I’m actually gonna do,
the reason I separated them out, is I’m gonna
shorten these, but I’m just gonna
have the pupils, obviously, remain
the same size. Okay? Then, I’ll add in
two more keyframes, which is
shortcut F6. And in between them, I’ll
delete everything on the frame which looks like his eyes
are completely closed. In fact, if I wanted to,
I could actually probably just go in here, grab a
slightly darker green, and then a very
small brush. Just give him
some eyelids, okay? Now, he’s eyes are
back open again. I’ll just grab these two frames
that we’ve done before. And I’ll hold Alt,
and drag them around, and that just
duplicates them, okay? So now, I’ve done
a very quick blink. Okay, and then, if
I turn the loop on, that’ll loop indefinitely, and
we can preview that looping. Okay, not brilliant, but
I’m not super focused on the animation, I’m focused on
how to get these points across. So now, for example, if I
drop out into this main scene, and I make sure that
my head is a graphic. So if you’ve go to your
Properties panel, there’s two– well, there’s three types
of symbol, technically. There is a graphic, a
movie clip, and a button. The only difference you
need to worry about now, is you can ignore button,
graphic and movie clip– just think, a graphic will
play its inside-of loop when you’re testing, but a movie clip will only
play its inside loop when you export. So, for example, if I
choose movie clip now, and press play on
our main timeline, you can see that the
animation doesn’t play, okay? But if I turn this
instead into a graphic, you can see that it does
play when you’re testing. Now, the movie clip
will play when you actually
export the movie, but it just doesn’t play
when you’re testing it. It’s just one of
those things, okay? Right, so we’ve the
head of our character. I’m just gonna put
that in position now, probably
over here. And it’s time to
animate the body. So we’ve already done a
bit of frame-by-frame, but you can tell we’re combining
frame-by-frame animation with tweening by– I’m probably
going to frame-by-frame the head and body,
but tween the shadow and probably some of
the effects as well, and things
like that. So, let’s
dive right in. I’m just gonna lock
that head for now because I don’t wanna be
accidentally drawing on it. And I’m gonna go down
to my body layer, and I’m gonna draw
our first body. In fact, that head
looks a little bit high. I’m just gonna put his
eye line on there– that makes
more sense. Now, I’m using a
graphics tablet which is a pen on a sort
of tablet kind of device that I draw with. If you’re
using a mouse, I highly recommend you
get a graphics tablet. You can pick a cheap one
up for about 30 quid. Especially if you think
you’re gonna be doing a lot of this kind
of animation, okay? So I’m gonna give him
a nice thick body, and I’m just
gonna go for it. So his starting position
I kind of wanted to be in like a ready–
a ready-ish pose, okay? Like this. And maybe his arms are sort
of bunched up a little bit like he’s ready
to run, okay? Good. Now, this pose, if
I play straight-ahead, because I haven’t
drawn any other frames, all he’s gonna do is
just blink at the moment. So maybe I’ll leave him having
that blink for a second or so, and then I’m just
gonna drop in with F6, a whole load of new keyframes,
because I know now, this is where I want
to start my animation. Okay, so,
real easy. Grab your body layer,
delete it. You move two frames on,
which you can do with the comma
and full stop, or left triangle bracket,
right triangle bracket buttons. That’ll push you
around in your timeline, and if you just keep
the other finger on F6– oh, F7, rather, for
a blank keyframe, what you’ll do then is you’ll be
able to drop in new keyframes as you draw,
okay? Let’s just
dive right in. One thing you need to make
sure you have selected is your
Onion Skin tool, and that allows you
to see the frames before and after
your drawing. Okay, so let’s
just hide the head because it’s gonna
distract us. Okay, so he’s just started
moving at this point, so we probably
want him to be– his movement quite
close together, okay? But if you just think about
how he is gonna be moving, he’s gonna be moving his
body forward and down as he prepares to
jump in the air, because that’s what I’ve
decided I’m gonna do. Okay, which means his weight’s
gonna be moving forward onto his front leg, but obviously his front
foot’s not gonna move. His back leg will
probably come up a bit, so we’ll
just do that. And his arms will
probably come up in preparation
to jump, okay? So, all we need to do then,
is move two frames ahead, and hit F7, that gives
us a new blank keyframe, and we’ll
go in again. Okay. Now, what looks
wrong there is his body’s
actually moving down, but I didn’t move
his waist with it. Okay, like so. So that looks
a bit better. He’s gonna bring his
leg up like this. His arms I would feel
would at this point be coming a
lot further up. And then, we’ll do the
same again, move along. Excuse me, I’m just
getting an email there. (chuckling) Move along, F7 for
a new keyframe. And then, I’m gonna have him
really low down this time. He’s gonna powerhouse
into this… into this jump that
he’s preparing for. Okay. Now, I just wanna add another
couple of easing frames here. So rather than redraw
it, all I’m gonna do, is instead of hitting F6–
F7, sorry– I’m gonna hit F6, which just
repeats the keyframe, okay? Then, if I hit Q, or click
my Free Transform tool, I can move my point of
origin down to his feet, and then I can just
gently manipulate… this drawing to give him
a really nice gentle ease into his position as he gets
ready to force himself upwards. Okay? So, really quite
gently into there. Like so. So let’s take a
look at that back. Okay, there
you go. You can see he sort of
rests into that position. There’s actually a little
bit of backlash as well. Which is good, ’cause
that’s him settling in. Now, let’s just do
this head as well. Actually no, let’s leave
the head for a while. Let’s give us a load of more
frames to work with, with F5. Let’s just keep
working on the body. So I feel like this needs
one more resting frame, just a tiny,
tiny bit left, and a tiny, tiny
bit shorter. Just so he
settles in. And the next one, we’re
gonna have him blasting off completely into
the air, okay? Bam, like so. His body’s gonna
stretch out. His front leg’s gonna
be up in the air. His back leg is
gonna be leaving. Now, here, he’s much
taller than he was, but that’s okay ’cause this is
a technique called “stretch.” This means that if you
stretch out your drawing at this point, physically,
where it’s moving so fast, it’ll look like he’s
moving a lot faster than he
actually is. You can get away with
drawing less frames, but the illusion of movement
is actually really powerful. So, not only do you have
to do slightly less work, you also get a really
powerful animation, which is great
on two fronts. So let’s have him sort of
start to come out of his arc. He’s gonna have his
front leg up a bit more, but he’s gonna start to
bring his back leg in. I’m gonna have him do like
a big powerhouse kick, and I’m gonna have him kick away
maybe like a ball or something. Okay. Like so. And then we want– bam–
starting to curve around. Back leg is smearing there
because that doesn’t look right, but in the actual animation,
it’ll start to smear which basically means
that if you draw sort of a thicker leg than
he would usually have, or a position that you wouldn’t
be able to usually achieve, according to physics,
it gives you that sense of power as it moves into
the other extreme pose, which is gonna
be this. Bam, he’s
kicking out. Okay, now, I think I’ve
grown him slightly. Or have I–
am I all right? I think I might
be all right. Okay. So let’s have him ease
into this position then, as he starts to make contact
with whatever it is that he’s gonna
be kicking. So again, I feel like once
you’ve made that kick, your body might
arc back slightly. No, that doesn’t
look right. He’s moving
way too fast. So, he probably should
be more like that. And then, he can start
to tilt his body back. So if you’re having
trouble drawing it, there’s no reason why
you can’t trace roughly this one
drawing. Maybe make a slight change,
and then move it into position. There’s nothing
wrong with that. That’s a totally
legit technique. Okay? Again, another F7, and
I’m gonna have him start to maybe do a back flip as
he gets into the ground. So, maybe his leg
starts to bend a bit. This one remains where it is,
but his arms start to swing in. And then, he starts
to drop, okay? So he starts to
drop like this. Back leg
comes out. His arms are coming up
to balance himself. Oops, sort of
recovery there. And then, he
starts to drop in. Now, because this isn’t
traditional animation, ’cause this
is digital, I can kind of work half
go-ahead– or straight-ahead, and half-key pose. For example,
I think there, I probably will need another
frame in between those two. What I can do is watch it back
and decide that for myself. Bam. Okay, see how that
doesn’t look super great because then the
momentum’s all gone. So he kicks, but his body
would still keep moving because of all
that force, yeah? So there’s the
point of impact. Maybe he’d
keep falling. Maybe he should be going
somewhat like that. Bam. Okay. Bam. So what he needs, I think,
is another frame in here, between
those two. So this is that
combination of straight-ahead and
pose-to-pose animation. I can just sort of
draw those two frames that are in
between it. And see if that
gives us– nah. I think he
should stop. Bam. Stop there, ’cause
he’s made an impact. And then, he should
spin around more. And if this
doesn’t work, I’ll just delete it
and start again. You know, animation is
a slow, slow progress, and if you’re worried about
spending time doing it, then it’s probably not the
best profession for you, if that
makes sense. Like, I understand that
you don’t wanna spend– you don’t wanna
waste time, but figuring something out
to get it to look right isn’t a waste
of time. Bam. Shoop. Okay, I think the
problem there is that I’ve got
too many frames. Bam, okay, he’s
made that kick. Tsh. Um, bam, so what
looks wrong there? He comes up, he
makes that kick. Maybe he just needs to keep
going a long, long way. And that’s the thing– I’m
not a professional animator, so I do come across–
bam– these problems. But the only way to
fix them is to try and see what
looks good. And if it doesn’t look good,
then don’t worry too much. (laughing)
Essentially. Um… So let’s try
something like that. Bam. That looks okay. Cool, let’s keep
going then. That looks good
enough for now. And… maybe his body whips
around like this. So he’s full spin
mode right now. Like that. And he keeps
dropping, but by this point, he’s kinda
straightening out a bit. So his legs
pops like this. And then, we’ll
have a nice big… stretch frame as he gets
back into his drop. Give us that spare breathing
room, see where we are. And we want a nice big–
bam– leg up, dropping into your–
ah, I rushed that. Dropping into
your landing pose. Okay. Bam, kick, and then,
into landing pose. And then, I think here,
we need just a huge jump, jump in time to
him on the floor. Completely
stretched out. Complete overkill
with the stretch. And then, the next
exact frame is– bam– he’s face-planted
on the floor. His arms are up, his body is kind of
knackered a bit. And then… Oh, maybe his arms wanna
be touch of the floor. And then, you want a nice
resting pose that you can ease. Okay. Like so. Like… See how
that looks. Jump, kick,
land. Jump, kick, land. That looks okay, but he kind
of smushes forward way too far. Again, I’m not focusing too
much on animation quality here. I’m just trying to
get points across. Okay, so,
let’s have him– oopsy-daisy– into his resting
pose a bit. Let’s have him
slide a touch because he did
have a lot of power. And… Land. Okay. He’s landed. He’s going to
keep sliding. So let’s have him
slide loads, and then peter out
into nothing. Okay. Bam. So there’s one frame there
that doesn’t look quite right. And that is
that one. Because you can
see, he lands, he’s got a weird hump
in his back, and then that hump just
disappears immediately. So let’s delete that frame,
and find a better in between. Perhaps
something like… Something
like that. Up… bam. Yeah, that
looks better. Okay, so there,
I’d probably say– I wouldn’t actually be happy
with that in the final thing. It’s not quite
as snappy. But for the sake
of illustrations, that works totally
fine, okay? I think it’s
that spin. There’s something
wrong with that spin. I think he hangs
there for too long. I think he does
actually– bam. Okay, so those three frames–
let’s get rid of those. See what that
looks like. Bam. Oh, nearly. Maybe just
those two. Bam. Nah, that
looks worse. Uh, maybe I’ll figure out
what looks wrong with that in between episodes.
(chuckling) But I think
that’ll do for now. It’s quite a
long episode. And next time, we’ll get
into animating the head, and also do a bit
of motion tweening on the shadow
beneath him as well. So today, we’ve gone
through creating a symbol, a timeline within
that symbol, and a whole bunch of
frame-by-frame animation. And I think the one thing
to take away from this– it’s especially
apparent– is it’s okay to delete things
and go back and do them again. That’s
totally fine. Especially when
you’re starting out. And especially if
you haven’t animated in a long
while like me. So thanks for joining
me, everybody. I really appreciate it, and
we’ll see you next time for some motion
tweening. See you then.
(trumpet fanfare)>>(electronic voice)
Remember to subscribe for more tips, tricks,
and tutorials. Thanks for watching.
Articles, Blog
PHOTOSHOP HOW TO REMOVE ANYTHING YOU WANT??? From Photo, Keep Background -Content-Aware, Clone Stamp
February 9, 2020
hi guys in this video we’ll be learning
how to remove anything from an image in Photoshop this can be a very valuable
tool if used correctly so let’s get to it here we have a picture of a beach and
this woman is photobombing our beautiful scenery what we can do is we can go to
the left side and select lasso tool drag around the part of the image that you
want to be removed remember to get the reflection under here once you have that
selected we’ll go to edit and click on fill or you can use hotkeys shift+f5
will leave colour (not color cause I’m canadian) adaptation on and contents aware selected click OK what
this will do is it will remove her from the image and leave a very clean
background now this doesn’t always happen for every image it depends on how
complex the background is in this case we got very clean image but let’s show
you a different one now here we have a Ferrari and a BMW so we’ll remove BMW here
because Ferrari doesn’t want to lose to a BMW now let’s change this to a polygonal
tool because the shape of the car is easier to work with this kind of tool
it doesn’t have to be very accurate but try to get as much of the car as you
can now once you have that selected we’ll go to edit again fill remember to
leave colour adaptation on contents aware selected okay now let’s
right-click on the image and deselect as we can see it got a little messy here
and messy here the part of the road is gone however we can fix this now let’s go to
the left side and this is the clone stamp tool what this does is it will copy part of the image elsewhere and replace wherever you want to fix
now let’s choose over here you want to hold alt and click here and now we can
paint over this with a different part of the image as you can see the result is very
nice now we can zoom in a bit to fix this up
better you wanna just work your way in there and voila the BMW is gone we can also
fix up the road here a little make it look a little nicer and we can select to
copy this part and remove the car over here blend it in that’s grass we can also remove this logo here out of
this and there you go as you can see we can
get very creative on how and what we want to remove from the image so if you
like what you see please SUBSCRIBE and I’ll see you next time
DOWNLOAD LINK IN DESCRIPTION DOWNLOAD LINK IN DESCRIPTION DOWNLOAD LINK IN DESCRIPTION
In this quick tutorial, I’ll show you how
to create this awesome double exposure effect in Photoshop. We start off with a picture of a forest, and
another of a fox. The first thing we need to do is duplicate our fox image twice. Then
we create a group folder and place both our fox duplicates inside. We also place our forest
image, sandwiched in between the two foxes. Now that we have our layers sorted, it’s
time to start working on the main mask. We’re going to use the original fox layer to create
this. Firstly let’s desperate the image by going to Image…Adjustments…Desaturate.
Then we increase the contrast by going to Image…Adjustments…Levels and moving the
centre slider almost all of the way to the right. This has created a simpler, higher
contrast image that will be easier to refine the selection of. Next we grab the Quick Selection tool and
select our fox. It doesn’t need to be accurate though because, once we’re done, we’re
going to click the Refine Edge button. This brings up a tool that allows us to set our
computer to work, refining the edges of the fur for us. We simply highlight the areas
we want to compute and it does everything for us. Once we’re done we change the output
to layer mask and click OK. Now that our mask has been created, we drag
it into the middle of our group folder tab. This applies the mask to all layers within
the group folder. We don’t need our original fox layer anymore, so we delete it. Having prepared our main mask, we can start
working on the actual composition. Let’s begin with the bottom fox layer which we’ll
be turning into a ghostly background. We add a Hue/Saturation adjustment layer and then
clip it to the fox layer by hovering over the boundary between the two, holding down
the alt or option key, and when the icon changes, clicking. Next we shift the hue into the blue
end of the spectrum and lower the saturation. Then we lower the opacity slider until we
get a subtle faded effect. Now let’s work on our forest. It’s noticeable
that we can move our forest around, and it will still conform to the edges of our group
folder mask. So we can use the transform tools to scale and rotate it into position. One problem I notice though, is we can no
longer see our ghostly fox background. So we’ll need to create some transparency into
our forest image. We do this by going to Layer…Layer Style…Blending options. This allows us to
blend transparency into the lighter areas of our forest layer, by moving the top-right
slider to the left. We can also soften the blending by holding down the alt or option
key and clicking to detach the secondary slider. Once we’re happy with the layer blending
we click OK. It’s now time to put our main fox image
back in. We select the top fox layer and then make it visible again. We don’t want to
see all of it though, so we add an inverted mask to it by holding down the alt or option
key and then clicking the mask button. This allows us to apply a soft white brush to the
mask, to paint it back in to our composition. It’s worth taking some care at this stage
to make sure it blends really well with the forest. The composition is looking great now – so
we can start tweaking our image layers. One thing I don’t like is how harsh the
color transition is between the forest and the fox. We can soften this by clipping a
curves adjustment layer to the forest, raising the red curve and lowering the green and blue
curves. This takes a bit of tweaking until we can get the color just right. I don’t
want to lose all my green though, so I fill the adjustment layer’s mask with black,
by going to Edit…Fill and selecting black from the drop down menu. This allows me to
apply a soft white brush to the mask to subtly paint the brown adjustment back in to the
areas where I want it. I finish up with some quick color grading,
using a filter plugin called Color Efex Pro 4. This allows me to use a few extra filters
like tonal contrast that aren’t available to me in Photoshop. I’m really happy with my fox now. There’s
a cool double exposure effect, that tells a story about the animal’s habitat. And
we can use this same technique to create all kinds of amazing images. I’d love to see
what you guys can come up with! That’s it for this tutorial. If you enjoyed
it, please subscribe and hit the like button. And I’ll see you next time!
Articles
CAREERS IN GRAPHIC DESIGN – Certification Courses,Diploma,B.A,M.A in Visual Arts,Salary Package
January 12, 2020
Welcome to our video channel on Jobs and Careers This is Elsa from Freshersworld.com Today I will be talking about career options one can have in Graphic Design Graphic design is a process which involves
process of visual communication and problem solving with the help of space, type and image.
It involves overlapping skills of visual communication and communication design and therefore, the
term ‘Graphic design’ is in use. Graphic designers use a variety of visual
media like shapes, fonts, colour on print design to convey messages. They are required
in many industries like Advertisements, Web designing, Print Industry or Film making.
It is an individual’s profession, rather than a team work. More than educational qualifications,
thrust is given on individual skills, creativity and genius. The skills used in graphic designing
are Adobe Illustrator, Photoshop, 2D, 3D designing, Art direction, Colour theory, typography,
print and editorial design etc. In general, Graphic designers work with images
as well as with text forms in order to create a design which is appealing to eyes and gives
some message. This could be included in any brochures, logos, advertisements and websites.
The images which are included in work are photographs, paintings and output of digital
media. Various Colleges, Academies and Institutes
in India provide various courses on Graphic Design in India. The courses include Certification
and Diploma courses in Graphic Design, Multimedia & Graphics, Graphics & Animation, Advertising
and Commercial Arts. There is Bachelor of Arts (BA) in Graphics design or Bachelor of
Science (B. Sc) in Multimedia, Animation and Graphics. Post graduation in arts (MA) is
available in Visual Arts and Animation. Graphic designers can get an opportunity to
work with any Graphic designer firm. Graphic designing is a growing industry and talented
people are hunted. A benefit of working in a designing firm is that one gets exposed
to variety of work and of several clients, at the same time. Some companies who have
an auxiliary branch of graphic designing hire Graphic designers on work basis. Even working
as a freelance Graphic Designer is also a lucrative and challenging job after gaining
good amount of experience in this field. Companies or institutions like newspaper, magazines,
publishers, restaurants, museums or organisations involved in any kind of public display surely
have requirements for Graphic designers. Alternative jobs like logo designing, advertisement designing,
photography editing, book & magazine layout arts, illustrators or art direction can be
taken up by a Graphic designer. A fresh Graphic designer may start with 1.5
to 2 lakhs per annum. However, a professionally experienced one can get a good remuneration,
depending upon his employer. Working with a renowned firm also includes bonus, profit
sharing and other perks along with the salary. The Indian Graphic design firms are Skyy,
Design parichay, Liquid designs, Zero designs, etc. The Internationally recognised graphic
design firms are many but to name a few top designer firms, they are Pentagram, Landor,
Meta Design, Saffron Band Consultants, Happy Cog, The Chase, Flux Design, Dessein, Labbrand,
Total Indentity Group, Litmus branding, Casa Rex, Brandient, ID&B and eat Creative.
Today, everything in the market has to be appealing to people. Therefore, with the help
of graphic designing, the message can be conveyed in more creative way than the actual thing
itself. Hope you got a glimpse of career in Graphic
Designing. We shall be back with more career options. Stay connected with freshersworld.com We will be back do not forget to hit the subscribe button
Articles, Blog
Little-Known PHOTOSHOP TRICK to Animate and Mask Layers – Complete “KNOCKOUT” Guide
January 10, 2020
Welcome back to another very exciting tutorial
here at the photoshoptrainingchannel.com. My name is Jesus Ramirez and you can find
me on Twitter @JRfromPTC. In this tutorial, we’re gonna talk about how to create a Knockout
using the advanced blending options in the Layer Style window then we’ll use the Photoshop
Timeline to animate the Knockout. The Knockout option allows you turn a layer into something
similar to a mask. It’s the layer that punches through the all the layers below it and it
reveals the bottommost layer. Unlike mask, you can apply Layer Styles to these Knockout
Layers to create more interesting effects. This is not a new feature in Photoshop. It’s
been around forever. In fact, when I first started using Photoshop back in version 7,
this feature was already available. This animation is one of the first things that I ever created
in Photoshop. It’s a Knockout animation using a photo of me as a 19-year-old around
2002 and a photo of a Terminator head. This animation was created using pretty much the
same techniques I’m about to share with you today. The only difference is that back
in those days, Photoshop did not have the Timeline panel available, so you have to use
a now discontinued program called ImageReady to animate the Knockout Layer but anyway,
let’s get started with the tutorial. The first thing I’m gonna do is I wanna
explain to you how the Knockout feature works and then we’ll move on to the more complicated
project. So just to quickly show you what I have going on here, I’m gonna talk about
the layers that are found in this image. So, we have a Background Layer and it’s filled
with a color green, then we have a Pattern Fill, then we have a silhouette of a Dog,
and a paw print, then we have a Star. We’re gonna use the shape of the Star as our Knockout
Layer. Let me double click in the side of the layer here to bring up the Layer Style
window and this is gonna reveal the Advanced Blending options. Notice this dropdown here
Knockout. It’s currently set to None. If I switch to Deep then bring the Fill Opacity
down to zero, you’ll see that our Star is now green. I’m gonna press OK. But why is
the Star green? The Star is green because it’s using the pixel found in the layer
as a mask and it’s punching a hole through all the layers all the way to the Background
Layer. Notice that the Background Layer is currently green. If I, for example, add a
Filter such as the Fiber Filter and just press OK, notice what happens there. Our Background
Layer changed. If I disable the visibility of all the layers, this is what our background
looks like now. If I enable all those layers again and clicking the Star and move that
around, you will notice that the Star is punching a hole through all the layers all the way
down to the Background Layer. What if we don’t have a Background Layer? Let me click on this
lock here to disable it and notice that now these are transparent pixels. So, I can click
on the Star and move it around and you’ll see that we get nothing but transparent pixels.
If you don’t have a Background Layer and you wanna create one, you can go into the
Layer>New>Background From Layer and now, the background is back and we can move that
around. What if we wanna make the Dog, the layer that this Star reveals? Well, you need
put things into a group. You can select the Star which is your Knockout Layer and select
the Paw print, so now this source is selected and I wanna put those two into a group. Ctrl
+ J, Command + J on the Mac. Now, the layer that’s following the group is a Dog Layer.
So I’m gonna open this up, double on the side of the layer here and instead of using
Deep for my Knockout, I’m gonna choose Shallow and notice that the Star disappears. And by
the way, that particular Star Layer, we can also add layer style. So, let me just add
a Stroke Layer, so we can see it and I wanna press OK. If I click on Star and drag it around,
notice that now the Star reveals the Dog Layer. What if instead revealing the Dog Layer, you
wanna reveal the Pattern Fill, well you can click in the Dog. Drag that layer on to the
group. Now, the layer that’s immediately after the group is the Pattern Fill Layer
and that’s gonna be used as the layer to reveal by the Knockout Layer which is the
Star. So, I’m gonna click on the Star. I’m gonna click and drag over our shapes and you’ll
see that the start now reveals that layer. So, these are the basics of how the Knockout
Advanced Blending Options work. Shallow reveals the layer that’s immediately following the
group that the Knockout Layer is in and Deep reveals the Background Layer. So if you’re
gonna use Deep, make sure you have a Background Layer and obviously, if we’re gonna use
Shallow, make sure that you’re gonna have a group sort like I have here. So, I’m just
gonna press OK and now we’re gonna move on to the project that you saw in the introduction. We have the three layers, the Background Layer
is not that important. We’re gonna us this stock photo on his man and this photograph
of the skull that I took. So if you want to follow along, I do have the skull available
for download on my website, photoshoptrainingchannel.com or ptcvids.com. They both get in my website.
If you’re on YouTube, you can look up the description for this video and the link will
be there. And once you open up the skull file, you may have to make some adjustments to the
image. Maybe you need to distort it a little bit to match your skull. If you don’t have
a picture of a face, you can take a selfie with your cellphone. Just make sure it’s
a similar angle as this skull, and you can adjust it accordingly to match the head that
you’re using and by the way, I’ve already done that in this case. That way, you just
work on the actual knockout method and not so much on distortions and liquefying and
things like that. The first thing I wanna do is I wanna click
on the Skull Layer and click and drag that down below the layer of the Man because the
skull needs to be below that. Then I’m gonna create a layer which we’re gonna as our
Knockout Layer. So, I’m simply gonna create an ellipse using the Ellipse Tool. I’m gonna
use the Shape. I could also use Pixels if I wanted to but Shape is gonna be good for
this tutorial. I’m gonna click and drag and hold Shift to create a perfect circle.
The color is really not that important. I have black. I’m gonna click and move that
around and place it on top of the man here and if you remember from earlier, what we
have to do is put this Knockout Layer and I’ll click on that Knockout Layer. You have
to put this Knockout Layer and the layer of the Man in the same group, so I’m gonna
select both of them by holding Shift and clicking them both and pressing Ctrl + J, Command +J
on the Mac. They’re both now in a group. I wanna click on the Knockout Layer and actually
double click in the side to bring up Layer Style window. Under the Advanced Blending
options under Knockout, I’m gonna select Shallow. Nothing is gonna happen but that’s
okay. I’m gonna bring down the Fill Opacity down and now we can see the Skull below that
layer. Now that we’re here, we’re gonna add some Layer Style, so I’m just gonna
add a Stroke and by the way, the Stroke I’m using is a Gradient Stroke from black to white
and I can adjust the scale. I’m also gonna add the Bevel and Emboss just to give that
ring a little bit more shape. Maybe click on Contour and adjust according just to, again
give it more shape. I’m also gonna add Drop Shadow. The color of the shadow will be color
that’s found on the darker areas of this image maybe even darken it up a little bit,
so something like that, and multiply as fine as the Blend Mode just the Opacity, and the
Size, and Distance and you can click and drag it if you want to but this is a good spot
for me. And I wanna also show you that you can add a Color Overlay if you want to and
maybe switch it to Color and maybe even green to create sort of an x-ray effect but I’m
not gonna do that in this case. I’m just gonna disable that Color Overlay but I wanna
show you that you could do that if you wanted to. I’m gonna press OK. And now if I click
this and move this around, you will see the Knockout effect. Now there is one problem, the finger. We can
do two things. We can either find an image of the skeleton and use a skeleton’s finger
and composite that in here, so that when we hover over it, we see the bones of finger
but in this case, we’re not gonna do that. We’re actually gonna pretend like the finger
is just a little bit further away from his mouth and you could actually fit this glass
in between his mouth and his finger and I’m gonna show you how you would go about create
that effect. It’s actually quite simple. All you need to do is click in the Man Layer
and make a selection. I’m gonna see if the Quick Selection tool works and just make a
quick selection around his finger and that selection seems to be pretty good. Just to
refine it a little bit, I’m gonna click on Refine Edge and it’s a little jaggy,
so I’m gonna smooth it a little bit and maybe shift the edge down just a tiny bit.
So, maybe something like this will work and I can actually zoom in just to make sure things
are gonna work. And actually, you know what, I’m gonna go into the Quick Mask Mode, so
I can either press Q or click on this icon here and paint with an areas that I wanna
keep. There’s a few areas there that I think I wanna keep and you can paint it with black
to remove area, so anything that’s in red will be removed. Okay. So, I’m gonna press
the Q this time to go back into the normal view and I’m just gonna press Ctrl + J,
Command + J on the Mac on the Man Layer to create a layer that only contains a finger.
I’m gonna put that in the very top of the group and I’m gonna call it Finger. And
I’m also gonna zoom out just you could see what’s going on and I’m gonna press V
on the keyboard to select the Move tool. Now, I can click and drag the Knockout Layer around
and you’ll see what happens when we go over the area with the finger. The finger is now
on top. So, that’s how you would create that effect just by stacking different layers
on top of each other. Also I wanna point out since we are using
a Shaper Layer, I can click on the Properties Panel. If I click on this icon here which
is the Mask, I can feather it and actually, I’m gonna disable the effect just so you
can see what’s going on. I could feather it like so, so you can create a really interesting
effect. You can see there and I could also bring the Density but I don’t think the
Density is gonna do much in this case. I can bring the Opacity down and that will also
create a very interesting effect as you can see there. So, I’m just gonna bring the
Opacity back and I’ll bring the feather back to zero and I’ll enable the Effects,
so I can click and drag this around. Now, we’re gonna work on creating the animation
and there are several ways of doing it in Photoshop these days. Back when I created
the image I showed you earlier with Photoshop 7, we didn’t have the Timeline window, now
we do, so this is gonna be one thing that I didn’t do back then to create this effect.
So, I wanna go into Window>Timeline and we have the Timeline. There are two different
options. There is Video Timeline and Create Frame Animation. You can do it with either
of those. There are different techniques but they both will work. I really had a video
where I showed how to use the Video Timeline for an animated GIF. So since I already have
that, I wanna use this video to show how to use to Create Frame Animation, so I’m gonna
click on Create Frame Animation and the way this works is we’re gonna have different
frames and each frame is gonna be a different step of this circle moving around and we’re
just gonna play it and once it play is it will look like if its moving in a circle.
So, where do you want your first frame to start? It really doesn’t matter for me,
we’ll just start here. And by the way, right now that I did this,
I just remembered that I skipped the step but that’s okay. Notice how when I hover
to this side, we have white and not the background. This effect would be much more realistic if
the background was the same for the Skull. So what we could do is duplicate this Man
Layer, click on it, press Ctrl + J, Command + J. Click and drag the duplicate copy under
the Skull and right now, I see a Smart Object. I’m just gonna Rasterize it to a regular
layer and I’m gonna disable the other layers and what I’m wanna do is I’m just quickly
create a selection around his face like so and I wanna fill that with Content Aware.
To bring up the Fill window, you can hold Shift and Backspace or you can go into Edit
>Fill then I’m gonna press OK and Photoshop did a good job of removing the head which
is what I wanted and now, I can enable the other layers again and notice what happens
now that I moved the Knockout Layer around with the Move tool, we have the original background,
so it looks a lot more realistic. So sorry about that, I sort of missed that step but
that’s okay. And now getting back to the Timeline, we’re
gonna decide where we gonna place the First Frame. So for me, it’s gonna be right here,
somewhere on this left eye. Then I can Add A New Frame and move that around, so maybe
this one move up here, Add A New Frame and maybe it goes up way up here, Add A New Frame
then goes here. So, you can think of this as a stop motion animation in a way. So, I’m
just creating each individual frame and how it’s gonna move around the image we created and I started here, so I think this one will
be okay. So now, let’s test and see what happens when we play this. See this little
Play button here? You can just click on it and it will play that animation but we wanted
to loop forever, so right here where it says Once, we can click on that and choose Forever
then click on Play. It’s gonna do that motion and it’s a little too fast, so why don’t
we slow it down. So I’m gonna click on the First Frame, hold Shift, click on the last
one and then on this downplaying arrow, select something like 0.5 Seconds and play it and
see how that looks and that’s a little too slow. So, we’ll select all of them again
and click on the down pointing arrow and choose maybe 0.2 Seconds, click on Play, and I think
that looks much better, so we’ll just go with that and you can spend more time on the
animation if you want. For this tutorial, I think it would be good enough. You got the
idea. Now, I can show you how you can export this animated GIF. It’s actually very simple.
All you do is press Ctrl + Shift + S, Command +Option + Shift on the Mac to bring up safe
for the web. If you are on a new version of Photoshop, you can also find it in the Export
>Menu>Save For The Web. If you are on an older version of Photoshop that is not CC
2015, this menu will be out here somewhere but it’s easier to just use the keyboard
shortcut. So, the image is really big. Right now, it’s 1920 x 1080. That’s way too
big for an animated GIF, so why don’t we make that 400 pixel. Then for the File Type,
just choose GIF and we can play just to see how it looks and that looks pretty good. I
can stop it and you can choose how many times the animation is gonna loop. Forever is the
option that I want, so that’s already set and I can just click on the Save button and
then you can decide what you call the file and where to save it in your computer. That’s
it for this tutorial. I hope that you enjoyed and that you learn something new. If you have any comments or questions, leave
down below. If you enjoy the tutorial, don’t forget to click that Like button and Share
this video with a friend. If you haven’t already, Subscribe to the Photoshop Training
Channel now. Thank you for watching and I’ll talk you again soon.
Hey guys, welcome back for another very exciting
tutorial here at the PhotoshopTrainingChannel.com. My name is Jesus Ramirez. You can find me on Twitter @JRfromPTC. In this tutorial, we’ll turn this ordinary
pumpkin into a frightening Halloween Jack-o-lantern. We’ll create this image by taking advantage
of layer styles and adjustment layers. If at any point you get confused, rewind the
video and watch it again. We’ll be covering a lot in this tutorial and
if you still have any comments or questions, feel free to leave them down below. Also, don’t forget to download the tutorial
files so you can follow along. So head over to my website PhotoshopTrainingChannel.com,
look for this tutorial, and download the files. Okay, guys, let’s get started. The first thing I’m going to do is create
the document we’re going to be working with. I’m going to go to File, New, and we’re going
to have a document that’s 1920 by 1080. I’m going to press OK and I’m going to fill
this background layer with black, so I’m going to hold Alt and Backspace, that’s Option and
Backspace on the Mac, to fill with the foreground color. And the reason we’re going to be working with
black is it’s going to be easier to see, but you can work with whatever background color
you want. I’m now going to bring in the picture of the
pumpkin that we’re going to be working with, so I’m going to go to File, Place, and have
this image here of the pumpkin. And I’m going to click on it, and then, click
on Place. And it’s going to bring in the pumpkin. I’m just going to make it a little bit smaller,
maybe about this big and move it to the side, and move it up just a bit somewhere around
there. I’m going to hit Enter to accept the transformation,
and notice that we used the Place command, it automatically turns the pumpkin into a
smart object. If you brought in the image of the pumpkin
in another way, make sure you convert it into a smart object before you start working on
it. And, by the way, this image is going to be
included with the tutorial, so you can go to my website PhotoshopTrainingChannel.com
and look at the bottom of the page to download the assets for this tutorial. I’ve gone ahead and cropped out the background
for you already, just because we don’t need to spend time doing that with this tutorial
since you’ve seen me do it in other tutorials. If you’re using a different pumpkin, then
go ahead and extract the pumpkin from the background. Okay, so what we’re going to do now is we’re
going to sharpen up the pumpkin a little bit. I’m going to zoom in just so you can see what’s
going on. So this is our pumpkin here and I have the
pumpkin selected, so I’m going to go to Filter, Sharpen, Unsharp Mask. And these settings are actually okay, the
Amount of 102%, Radius of 4.6, and Threshold of 8, and you can see the before and after. You can see the difference here, actually,
in the highlights, so before and after. So it just sharpens the pumpkin a little bit
more. I’m going to click on this arrow to collapse
the filters, just because we need some real estate and we don’t need to see them. I’m going to, now, add an Inner Glow to this
layer, so I’m going to double-click on it in the space here in-between the text and
the thumbnail to bring up the Layer Style panel. So I’m going to click on Inner Glow. I’m going to select multiply, and I’m going
to select Black, and I’m going to increase the size just a little bit, maybe around 35
or so, then I’m going to press OK. So it just adds this shadow on the outside
of the pumpkin. I’m now going to add a Curves Adjustment Layer
and this curves adjustment layer is going to give a little contrast to the pumpkin,
and I only want the pumpkin to be affected by this adjustment layer, not anything else
below it. There’s nothing else below now, but there
will be in the future, so I want to make sure that only affects this pumpkin so I’m going
to turn it into a clipping mask by clicking on this icon that you see here. Now that we have this down pointing arrow,
the Curves Adjustment Layer will only affect the pumpkin, so I’m just going to bring in
the blacks, maybe here, and then, just maybe bring this down, right here. Notice that when we add this curves adjustment
layer, it oversaturates some of the colors. To fix that, we can just change the Blending
Mode to Luminosity and it only makes it dark now without really affecting the colors, so
that’s what you want to do. I’m going to add a Hue and Saturation Adjustment
Layer now. I’m also going to clip it to the pumpkin,
but now I’m going to use the keyboard shortcut. I’m going to hold Alt, hover in-between the
layers, and then, click, and it will be applied to the pumpkin as well. And I’m just going to bring the saturation
down just a little bit, so maybe something like -35 or so; -36 will be okay. So, that just sort of brings the saturation
down. Since this is going to be a night scene and
we don’t need a lot of color in the pumpkin. Now I’m going to add a Color Lookup Adjustment
Layer and the Color Lookup allows you to add different looks to your images just by selecting
any one of these. And it instantly gives a new look to your
image. And the one that I’m looking for is Night
from Day. It sort of makes it seem as if the pumpkin
was in a night time shot, which is what we want. And, of course, I’m going to clip this to
the pumpkin, and I’m going to bring the Opacity down, maybe around 75% and set it to Luminosity,
so, this is the result we get here. I’m going to click on the pumpkin, press Ctrl
J, Command J on the Mac, to duplicate it. I’m going to grab the bottom pumpkin and drag
it all the way to the top. And this is going to be the pumpkin that’s
going to be the highlight areas. So I’m going to add a Layer Mask by clicking
on the Layer Mask icon, but I’m going to hold Alt, Option on the Mac, before I click. That way, it fills the layer with black and
it hides the mask completely. Now if I press B on the keyboard to bring
up my Brush Tool and I select white for my foreground color, I can start painting in
highlights, like you see here. Now, you see this weird outline there, that’s
because we have an Inner Glow effect. We can just turn that off and you’ll see the
difference. So, now, we have the highlight where the eyes
and the mouth will be, and we don’t need to be too exact. I know that the eyes and the mouth will be
in this area here, so I’m just going to paint, like so. Now I’m going to add a Hue and Saturation
Adjustment Layer, but what I’m going to do first is I’m going to click on the Layer Mask,
and it’s going to select the visible pixels of this layer, then I’ll add a Hue and Saturation
Adjustment Layer so they both have the same mask. I’m going to click on Colorize and I’m going
to set the Hue to about 50, Saturation I’m going to bump that up to maybe about 77, and
Brightness, I’ll bump that up to maybe 15 or so. Then I’m going to set the Blending Mode to
Color Dodge, and I’m going to bring the Opacity way down, maybe 15% or so. It just makes the pumpkin look a little bit
hotter, which is what we want since there’s going to be fire inside of here. Okay, now I’m going to take the top layer,
hold Shift, click on the bottom layer to select them all. I’m going to press Ctrl G, and I’m just going
to call this layer “pumpkin.” I’m now going to add a new layer and we’re
going to start drawing the eyes, and what I’m going to do is I’m going to select a hard
brush and I’m going to bring the size down. And I’m going to draw the eye, and I’m just
going to go sort of quickly here. So this is the eye here and I’m just going
to make the brush a little bit bigger, and fill that in. As you can see here, this is looking okay
and it will do the job, but there’s a problem. In my opinion, I think that if this were a
real Jack-o-lantern, the edges wouldn’t be so sharp. There will be a lot of jagginess around the
edges. So, one way to create that will be by creating
a brush that would draw jagged edges as opposed to straight lines. So, what we’re going to do is we’re going
to click on the Brush panel icon to bring up the Brush panel, and I’m going to click
on Shape Dynamics and increase the Size Jitter, and click on Scattering, and just bring up
the Scattering just a little bit, and, maybe, decrease the spacing down to 1%. So, now, when I draw, you see that I don’t
have a straight, sharp line. There’s a lot of jagginess, and that’s what
I want. So, I’m going to go ahead and delete this
layer, add a new one, and I’m going to zoom out, and I’m going to start drawing the eye
again, like so. And what I’m going to do now is I’m just going
to click on Magic Wand, and I’m going to go to Select, Modify, Expand. I’ll expand it by 2 pixels, and I’ll fill
it with black, Ctrl D, Command D, to deselect. So, now, you see the jagginess on the pumpkin;
so it’s not a straight line, which is exactly what I want. And this is going to be the shape that we’re
going to use for our eye. And the first thing I’m going to do is just
reshape the eye a little bit. I think that it’s a good idea to work with
the natural grooves and edges and texture of the pumpkin. So, maybe, I can just come in and sort of
use this line to define how the carving of the pumpkin should be, so just come along
the line there, maybe go in here a little bit; just sort of use these natural highlights
and these lines to help you create a more realistic eye, so something like that. And, of course, you might want to take more
time than what I just did, but you sort of get the idea. I used the same technique in the rock text
tutorial that I did a few months ago, so you can check that out too, and it’s the same
idea behind the technique. Now that we have the shape of the eyes created,
we’re going to start adding some layer styles to make it look as if this were part of a
pumpkin. So, what I’m going to do first is double click
on the layer to bring up the Layer Style panel and I’m going to add a Bevel and Emboss. And, actually, let me move that to the side
here so you can sort of see it. Actually, I’ll cancel that and I’ll move this
here, maybe, so we can see it. There we go; we can see it better now. So I’m going to add a Bevel and Emboss and
I’m going to use an Outer Bevel, and I’m going to need a Depth of about 70 or so percent,
so bring that down; 72 will work. And I want my Bevel to be Down, not Up. So you see the difference there? It sort of looks like it’s pushing out. If I click on Down, it sort of looks as if
it’s pushing in, which is what I want. But I want to bring the size in more, so maybe
something like 8 pixels or so, and I’m going to [inaudible 00:11:19] up just a little bit—just
one pixel. I’m not going to use the Global light because
I want to move the light independently from all the other layer styles, so I’m just going
to move this and place it somewhere around there, maybe 135 or 132, something like that
should work fine. And for the highlight mode, I want to change
that to Normal, and we’re going to set the color to a light orange, so we can pick a
color out of the pumpkin here, so let me find a nice highlight color somewhere around here. This seems to be a nice highlight right about
here. And, actually, that’s still a little too dark
and not quite the orange that I was looking for, so maybe I’m going to bring that up a
little bit, and, maybe, move this over to the left, and something like that. That’s a nice highlight color there. I’m going to leave the Opacity at 75 % and
I want to select a dark color, and I’ll do the same. I’ll try to find a color that works and there’s
a nice dark reddish color here that I actually like that color, so we’ll leave that there. Okay, so now we have our Bevel and Emboss
and you can see that it does look as if the pumpkin has been carved in, but it’s a nice,
smooth bevel, and it does not look organic. It looks sort of like plastic a little bit,
so I need to add some texture into my bevel, so I’m going to click on Texture, and right
away, as soon as I add that texture, you see those lines there and that’s exactly what
I want. So the pattern that I’ve selected is found
under Artist Brushes Canvas, and just press OK, and select the first one which is the
Italian Canvas. And you see how you get your result there,
which makes it seem a lot more like a pumpkin would look like. And I’m just going to bring the depth to,
maybe, 50%. I’ll just type it in—50. Now I’m going to add a Color Overlay, and
I have a pre-determined color for that B03D05, which is that orange color there. And I’m going to add a Pattern Overlay and
I’m going to go to Artist Surfaces, press OK, and I want that the pattern I’m looking
for is Dark Course Weave—this first one here. And, you know what? The reason you can’t see the pattern is because
our Color Overlay is set to 100% Opacity, so I’m going to move that down a little bit,
so, maybe, I’ll add about 70%. So you can see the pumpkin here, this will,
obviously, be the pulp of the pumpkin, and don’t worry about it if it just seems too
flat now. We’ll fix that later. What I’m going to do now is I’m going to add
an outer glow to the eye and I’m just going to set this to a yellow color that I pre-determined,
which is FFDE00, press OK. And I’m going to change the Blending Mode
to Linear Dodge and I’m going to bring the Opacity down to about 30 or so percent; 32
will be okay, and bring the size down to 10 pixels. And I’m going to also add an Inner Shadow,
and this Inner Shadow, I’m going to leave that Multiply, and the color that I want is
C85812, which is that orange color there. I’m going to bring the distance down a little
bit, so maybe 16. I’ll leave that Choke at 0 (zero), and the
Size, I’ll bring that down to, maybe, 10, and I’m going to press OK. So, now, you see the eye of the pumpkin here,
and it’s starting to look a little more realistic. What I’m going to do now is I’m going to Ctrl
Click, Command Click on the layer thumbnail to make a selection out of the eye. I’m going to create a new layer and fill that
with black. I’m also going to click on the Layer Mask
icon to make a layer mask out of that selection. And, then, I’m going to click on this icon
here, which links the layer mask to the layer, so now I can move them independently of each
other. I’m going to click on the layer thumbnail. I’m going to press V on the keyboard, and
I can, now, move this layer, and you could sort of see what I’m going to do. If I move it down just a little bit, down
into the right, you can now see that I have this. This looks a lot like an extrusion, so this
is going to be the pulp of our pumpkin. So, actually, I think this is a good spot
for it, I’ll leave that there. I’m going to double click on the layer to
bring up the Layer Styles, and I’m going to add a Bevel and Emboss. I’m going to go to Outer Bevel. I’m going to bring the Size down to 5 pixels,
soften it up just a little bit. And although I’m not going to change the angle,
I’m still going to uncheck Use Global Light, in case I move it elsewhere. I don’t want it to affect this layer style. I’m going to leave the highlight color at
white, but I’m going to change the Blending Mode to Soft Light, and you can kind of see
what that did. It created this highlight along the edge of
the extrusion there. Then I’m going to select a different color
for this and it’s going to be E2A35A, which is that light orange color there. Press OK. And let me just bring the Opacity down just
a little bit, something like that. I’m going to click on Gradient Overlay and
I’m just going to move this to the side just so you can see it better, right here. And I’m going to double-click on the Gradient
Editor, double click on that screen of the Gradient Editor and I’m going to click on
this preset here. I’m going to double-click on this orange one
and I’m going to turn that to white, then press OK. Then, I’m going to select a Radial style and
I’m going to click on Reverse to flip that around, so the white is in the inside with
the yellow ring, and an orange ring around it, and I’m going to uncheck Align with Layer. That way, I have more control over this Gradient
Overlay. You can actually click and drag as you see
me doing here, so I’m going to click and drag because the white is in the corner of the
eye there, and I’m just going to scale it down a little bit, maybe, around there; 42%
seems to be okay, so I’m just going to leave it at there, so we have white, orange, and
yellow. And, now, I’m going to add an Outer Glow,
and I’m going to change the Blend Mode to Normal, and the color that I want is FF6E02. And, now, you can see how it’s making that
look a lot hotter; so you see that there? I’m going to bring the size down just a little
bit. I think it might be a little too strong, so,
maybe, around 6 or 7 pixels will be okay, and then, I’m going to press OK. Okay, so now we have two layers. We have this original layer, which is the
shape of the eye and the outside part of the eye, and this shape here that creates the
illusion of an extrusion, and of the pulp, and the inside of the eye. Now, to take this to the next level, we need
to create two adjustment layers, two Curves Adjustment Layers, so I’m going to create
a new Curves Adjustment Layer and I’m just going to click and drag this up. And I’m only concerned about the area here,
which is the pulp. So you can drag that up and your concern about
this area here, and just make sure you don’t over blow it too much, so, maybe, around here. And then, I’m going to fill that with black. I’m going to create another Curves Adjustment
Layer and I’m going to do the same thing. But this time, I’m going to make the image
dark, and I’m going to fill that with black as well. I’m going to put these two Curves Adjustment
Layer into one group, so I’m going to select them both. Press Ctrl G, Command G on the Mac, to put
them into one group. And what I’m going to do is I’m going to Ctrl-click,
Command-click on the Layer thumbnail for the original shape, and I’m going to hold Alt,
Ctrl, and click on the layer right above that, on the second layer, which will give us a
selection of only the pulp or the extrusion part of the pumpkin. And then, I can click on the Layer Mask icon
to create a mask around that selection, so, now, if I paint with white in either of these,
for example, this top one here– Oops, sorry about that. Let me change the brush to a regular brush,
and, maybe, bring the Flow down just a little bit, maybe, Flow at about 25. So, now, what I can do if I paint with white
on either of these layers, you’ll see the changes. So, on this top layer, it just starts making
some areas darker, maybe, like here. And on the second layer, I can make some areas
brighter. So you can really play with the highlights
and shadows of the extrusion to make this a little more realistic. So I’ll zoom out so you can see what’s going
on; so that’s before and that’s after. So you can see, it really starts shaping the
inside of the eye, and you can just take more time to do that and make it more realistic,
but I’m going to stop there. One thing you might want to do is select all
three layers, put them into a group, and to save a little time, I’m just going to pause
the video now and create the other eye and the mouth. I’m going to be using exactly the same steps
I used to create this eye, so you really won’t be missing anything. If you get stuck, just go back, watch the
video. It’s the same step, no matter the shape that
you create. Okay guys, I’m back, I’ve gone ahead and created
the other eye and fixed up this other eye a little bit, and created this eye here, and
just so you can see what I did. I followed the shape of the pumpkin as you
can see here, to sort of make it a little more realistic, and I added these shadows
and highlights in different areas of the pulp here to, again, make it more realistic, so
that you can see it on both eyes here. You can see it on the mouth, how I just followed
along the actual shape of the actual pumpkin. You can also see that here. Okay, now, that we have this created, I’m
going to make a selection out of the inside of the pumpkin here. And anything that’s inside of this gradient
with white, yellow, and orange. So, to do that, so I’m going to click on the
layer thumbnail here to make a selection out of the shape of the eye, and by the way, I
renamed the layers, so you can see that there. That’s really not that important. And then, on the top layer here, I’m going
to hold Alt Ctrl Shift, Command Option Shift on the Mac, to make a selection out of the
inside of the eye there. And I’m actually going to create a new layer
on top of everything else; I want to fill it with black. And, actually, I want my layer to be outside
of all the other folders. And I’m going to do the same thing for the
right eye, so click on the bottom layer, Ctrl Click, Command Click on the Mac. And then, Ctrl Alt Shift click, Command Option
Shift click on the Mac, to make a selection on the inside of the eye, and I’m going to
fill that with black as well, and I’m going to do that for the mouth. Ctrl click, Ctrl Alt Shift click, fill with
black. So now that I have this shape here, I’m going
to Ctrl Click on it, Command Click, to make a selection out of it. Then I’m going to go into Select, Save Selection,
and I’ll just call it Shapes, just because we’ll probably need this in the future and
I want to have that saved, so I’m just going to press OK. All right, I’m going to press Ctrl D to deselect. I’m actually going to turn this layer into
white by pressing Ctrl I, Command I on the Mac, to Invert, and I’m going to convert this
into Smart Object, and I’m going to apply a Blur filter. So, I’m going to go to Filter, Blur, Radial
Blur, Amount 100%, Zoom, and Best. And I can click and drag this anywhere I want
and it’s going to create a zooming effect, and it’s going to make it look as if there
was light coming out of those holes that we created in the pumpkin. So, I’m going to move that to around this
area here and I’m going to press OK. And you can see that it created this effect,
it makes it look as if light were emitting from the pumpkin, and that’s exactly what
we want. And it’s a smart filter, so you can go ahead
and double click on it, and make any adjustments if you need to; I’m not going to do that. I’m just going to go into Filter, Radial Blur,
or you can just press Ctrl F to do the same effect again. And this is just going to make this effect
a little stronger, like so. I’m going to double click on it to bring up
the Layer Style panel. I’m going to click on Color Overlay and I’m
just going to make it yellow. And I can bring the Opacity down if I want
to, depending on how strong I want that yellow light to be, so, maybe, 54%, and I’m going
to press OK. So, now, we have this light emitting from
our pumpkin. If there’s some areas that you don’t want
light to go through, maybe for whatever reason you don’t want light, like under the eye,
you can just click to create a new layer mask and paint with black, and you can hide some
of those light streaks if you want to, but I’m just going to leave mine as they are for
the most part. Okay, what I’m going to do now is I’m going
to open up the pumpkin folder and duplicate this pumpkin layer here by pressing Ctrl J
or Command J on the Mac, drag it all the way to the top, delete the layer mask. And what I’m going to do now is make sure
that there’s no filters or anything applied to it, so I’m just going to right click on
that and click on Clear Smart Filters, and I’m going to press Ctrl T to transform, and
I’m going to actually make this a little smaller, so I’m going to just bring that in just a
little bit, like so. And what I’m going to do now is I’m going
to go into my Channels panel and that selection that we saved is actually here, so you can
just Ctrl click on it to make a selection out of it. Come back into the Layers panel and I’m going
to add a layer mask by clicking on the Layer Mask icon, so, now, we can set the Blending
Mode of this top pumpkin here–the one inside the eyes—to Soft Light. And what that does is it creates this texture
inside of the eyes, so it sort of looks like there’s more of that pulp inside the eyes,
so it’s not just a complete flat gradient. There’s actually some texture and something
going on inside that face. So, that’s what we want. I’m going to zoom out. Now that we’re done with our jack-o-lantern
I’m going to select all those layers and groups, press Ctrl G, Command G on the Mac, to make
them into one group, and I’m just going to call this “jack-o-lantern.” So this is our jack-o-lantern layer. So, now, it’s time to work on the background
of this image. What I’m going to do now is click on the background
layer and create a new Gradient Adjustment Layer, and I’m going to work with black, and
the other color that I want is a blue color, which is 27456B. It’s that dark blue that you see there. And I’m going to change the Opacity to 100%. And I’m actually going to reverse this, so
we have dark on top, blue on the bottom, and that seems to be okay, so I’m going to press
OK. And, this is going to be a night sky and I
need some stars, so I’m just going to create a new document, and I think it will be easier
to show you on a new document. So I’m going to fill this new document with
black, then I’m going to go into Filter, Noise, Add Noise, and it’s going to add some Noise,
so about 42% will be okay. Then I’m going to go into Filter, Blur, Blur
More. If you press Ctrl F or Command F on the Mac,
after applying the filter, it will redo it, so I’m going to redo that blur again, so that’s
two blurs. Then I’m going to go into Image, Adjustment,
Threshold, and if I move this slider over to the left, you’ll start seeing some dots
appear. This is going to be our stars, so I’m just
going to press OK. I’m going to zoom in just so you can see. So you can see it looks a lot like a star
field. So I’m going to go to Channels, Ctrl click
on anyone of these channels, they’re all the same. And this is going to create a selection out
of these white dots. I’m going to add a new layer, fill it with
white, and press Ctrl D, Command D to deselect. The original background layer, I’m just going
to fill it with black, just so we can see that the dots are now on this layer. You don’t really need to fill it with white
or with black; I just wanted to show you. So, now, if I zoom in, I can add a Blur More
to that as well, and, actually, that was a little too strong, so I’m going to go Edit,
Fade blur, and I’m going to fade that back, so, maybe, somewhere around there. I can double click on this layer, click on
Outer Glow, and just select a bluish color, so, maybe, around there, and, by the way,
so I’m going to set that to Normal, and bring the Size down to about 3 pixels. So you have these blue stars there, so I can
click and drag this over on to our layer. Hold Shift, and then, we’re going to drop
it right in the middle. And here we have our star field. And then, by the way, I think I might have
created more stars than I intended to, but that’s okay. We’ll just work with that. You can play around with the Threshold command
more, if you need to, but for the sake of time, we’ll leave it as is. Okay, so things are looking pretty good, but
I think that this needs to be a little darker, so I’m just going to add a Curves Adjustment
Layer. I’m going to bring in the darks a little bit
and like that. So that looks a little bit more like a night
scene there. And, actually, on this Gradient Fill, if I
double click on it, it brings this Gradient Fill panel up, and I can click and drag up
a little bit just because I want more blue here. I’m also going to add a new layer, select
white as my foreground color. I’m going to select a brush. I’m going to increase the size and I’m just
going to paint with white, so, maybe, another pass. And I’ll fill that, I’ll turn that into an
Overlay Blending Mode. And I’m going to add a New Layer and, this
time, I’m going to choose yellow as my foreground color and I’ll do a couple of passes as well. And I’ll leave that there for now. I might need to play around with that a little
bit in the future, but that’s okay for now. So I’m just going to call this “yellow,” this
“white,” just so I know what they are. And this layer here is the stars, so I’ll
call it “stars.” Now, we’re going to create some grass. To do that, I’m going to select this grass
brush you see here. I’m just going to create a new layer just
so you can see how it works. So if I start painting, it sort of looks like
grass. You just go over back and forth a whole bunch
of times. It looks a lot like grass. I have two colors that we’re going to use,
so the first color is 081617, which is the dark green color. And the second color that I’m going to use
is 193036, which is another dark green, but not as dark as the one before. I’m going to create a new layer. I will increase the size of my brush a little
bit, and I’m just going to start painting. And, by the way, this is a little too light,
and that’s because our Flow is set to 25, so I’m just going to bring that up to 100. I’m going to delete that layer and I’m going
to create a new one, and make sure that new layer is selected. Bring the size down a little bit and I’m just
going to start painting here, here, and here, like so. Okay, I’m going to create another layer, and
I’m going to make my brush just a little bit bigger and do the same thing. I’m actually going to bring that layer down,
maybe right there. So I’m going to select these two layers, press
Ctrl G, and I want to call this “Grass behind,” and this is because this grass is going to
be behind the jack-o-lantern, so I’m going to put that behind the jack-o-lantern there. And I’m going to zoom in just so you can see
what happened. We created this very realistic-looking grass
just by using these two colors and using that brush that comes preloaded in Photoshop. So this is looking pretty good, I think, and
I’m going to zoom out. And what I’m going to do is I’m going to add
a little bit of blur to both of them, but I’m going to convert them into Smart Objects
first, just so I could have the advantage of changing my blur in the future if I need
to. So I want to start with the top layer and
then go to Filter, Blur, Gaussian Blur, and it will be a subtle blur, maybe 1.4 or so,
and I’ll hold Alt, click on this icon here, and drag it down to apply the same blur to
the other layer. Actually, maybe, this top layer needs a little
less blur since it’s closer to us, so I’m going to double click on that Gaussian Blur
filter there and just bring it down, just a little bit, so, maybe, we’ll just leave
it at 1 pixel, and I’ll zoom in just so you can see. So this is what our grass looks like, okay? So I’m going to do exactly the same thing
now, but just so with bigger grass blades, and this is going to be in front of the jack-o-lantern. So I’m going to create a new layer on top
of the jack-o-lantern group and increase the size of my brush. I’ll zoom out, just so we could see everything
better. And I’m going to start painting, like so. And I’m going to add one more with much more
bigger blades here. Okay. And I’ll do the same thing. I’ll put them in one group and I’ll call this
group “grass front.” We’ll turn them into smart objects, and we’ll
apply a blur. We’ll start with the same blur, but we might
need to change it, so let’s just see how it looks with the same blurs we applied before. Okay, so, it’s looking okay, but it’s not
looking very realistic because these blades are actually pretty close to the camera, so
we need to add more blur to them, so I’m just going to click on Gaussian Blur, and just
blur those a little bit more. And I’ll do the same thing for these guys
here. And, actually, I think we need more grass. I’m just going to duplicate this layer. I’m going to go to Edit, Transform, Horizontal,
and I’ll probably just move them down a little bit, like so. I think that’s looking pretty good. And what we’re going to do now is in this
grass front group, at the very bottom under this layer here, I’m going to add another
layer, and actually I want that layer to be right at the very bottom of the group, so
it’s behind these layers here. And what I’m going to do is I’m going to zoom
in and I’m going to paint in some lighter grass blades. So, I’m going to double-click on this color
here and what I want is just the brighter green. And for the light color, I want, maybe, like
a yellowish color, maybe like this color there. And I can actually paint with the same smaller
brush, maybe about this big, just paint here, like so. And, actually, you know what? Maybe I’m going to drag this layer up one
level. And that looks okay, I think. There’s a line here at the bottom, but we’re
not going to worry about that now. So I just want to paint with this brush here,
maybe make another pass with a slightly larger brush, like so. And I’m going to hold Alt and click on the
Layer Mask icon to hide everything. I’m going to select just a regular brush. Fill it with white, just paint here, wherever
I think the highlights would be, like so. Maybe I’ll paint with black, just to get rid
of some of those here, some of those here; maybe the ones at the bottom here like so. And there you go. If there was light coming out of the pumpkin,
then the grass would definitely be lit up, so this is something that you can do to create
some nice lighting effects, and it’s just going to take a little time to get the right
lighting, but you can take time to do that on your image. This tutorial has already been long enough,
so I’m not going to take too much time into shaping how the light will portray on the
grass, but this would give you a good idea of how you can do that. Okay, so we’re almost done with the tutorial,
so what I’m going to do now is I’m going to add just a few more layers to finish this
up. So I’m going to go to File, Place, and have
this smoke layer here, which is just a picture of smoke. So I’m just going to press Enter, and then,
change the Blending Mode to Screen. And that is just some smoke that’s going to
be coming out of the pumpkin. So I’m just going to click on it and drag
it on top of the jack-o-lantern, but under the grass front group. And I’m going to add a layer mask, and then,
with black, I’m just going to paint in some areas here, so maybe, there’s some smoke coming
out of the mouth, or maybe a little bit around the eye, maybe not so much here on the forehead,
something like that. Okay, but that smoke’s a little too strong,
so what I’ll do is I’ll just bring the Opacity down to about 36% or so. And then, I can add an adjustment layer—a
Hue and Saturation Adjustment Layer. Clip it to the smoke, click on Colorize, and,
now, I can change the color of the smoke, so I’m looking for a greenish color. It just makes it look a little more eerie,
so, maybe around there. And, of course, I can bring the Opacity down
of the smoke to get the right color that I have in mind, so something like that, this
greenish, yellowish smoke; maybe it needs a little more yellow, so I’ll bring that over,
so, yeah, somewhere around there. So it’s a little yellow, a little green, and
that’s what I’m looking for. Okay, one thing I want to fix is this yellow
highlight we had here, just here at the bottom, just going to move that up just a little bit,
because maybe there’s a city or something in the background there, and it will be emitting
yellow light; maybe this is some sort of field out in a farm somewhere, and there’s a city
far, far away that you can see in the back. So that’s what that yellow is, just a bunch
of city lights, I guess. Okay, what I’m going to do now is I’m going
to add just a few more layers to finish this up, so I’m going to add a new Color Lookup
Adjustment Layer, and I’m going to change this to Moonlight, and it’s going to make
everything really, really dark, and that’s not really going to work for us, so the first
thing we need to brighten up is the eyes, so I’m going to click on Ctrl click on the
shape of the eyes in the channels panel, and I’m going to fill that with black. And what I’m going to do now is all the grass
front blades, I’m going to fill those with black, so Ctrl click, Ctrl Shift click, Ctrl
Shift click, Ctrl Shift click on these guys, and I’m going to fill that with black. So, now, if I press Ctrl D to deselect, you’ll
see that the blades in the front are brighter than the ones in the back, which is exactly
what we want. And, also, you know what? I just realized one thing. On this grass front layer here, we didn’t
add a smart filter, so I’m just going to convert that into a Smart Object and I’m going to
hold Alt, and drag that Blur filter here, so it blurs it up, but that’s a little too
strong, so I’ll double click on it and bring that back, just to sort of match the same
blurriness as the other grass blades. So things are looking a little bit better
now. All right, so I’m going to zoom out, and I’m
going to go back into that Color Lookup that we’re working on in this layer here. And what I’m going to do now is I’m just going
to grab my brush and I’m just going to change the Flow way down to about 35, and I’m just
going to bring in some color back into the pumpkin, just not too much, just a little
bit, maybe here, like so; actually bring the Flow even down even further, maybe 12. Yeah, that works good, and, maybe, just around
the pumpkin, like so. Yeah, so this is before and after. And I’m going to add one more. Color Lookup Adjustment Layer, and this time,
it’s going to be a film stock, and this really make that pumpkin stand out, so I’m going
to go back into my channels, Ctrl click on the shapes to make a selection out of that. Fill it with black and I actually only want
to affect the pumpkin, nothing else. And, actually, there’s a better way I could
have done this, so I’m going to Ctrl click on the pumpkin to make a selection out of
the pumpkin, and then, just go to Select, click on Inverse to inverse the selection,
go back up to the very, very top color lookup, and fill that with black. Press Ctrl D to deselect. So, now, you make your pumpkin a whole lot
scarier just by adding that one single adjustment layer. And I could actually click on that and paint
with black to, sort of, fix the bottom part here, since we don’t need to affect the grass
blades, like so. So if I zoom in, click on these double arrows
here to collapse that, just so we can see the pumpkin a little bit better. So there you go. This is our final result. I hope you enjoyed this tutorial. If you have any questions or comments, please
leave them down below. If you’re at my website, you can enter your
email on the sidebar to get access to my subscriber-only tutorials. Also, don’t forget to share this tutorial
on Facebook, Twitter, Google+, or wherever you like to share your stuff. As always, thank you for watching and I’ll
talk to you guys next time.
[Please select the language of CC subtitles] Hello, I’m Illustrator ETAMA. In this video, I will draw a gladiator and a huge dragon. First, draw a rough area on another layer, and then display the rough position in a slightly darker color. Then simply specify the base color. I want to draw a younger gladiator on black hair. The Overlay property was used when converting colors in black and white. When deciding on the age range, the ratio of face to body is carefully determined. I had a plan to draw dark clothes from the beginning. So, considering the material and color of the clothes, the bright areas were not colored as much as possible. It allows me to wear a long, high prosecutor’s office and two short swords on my waist. Originally I was worried about letting me wear a cloak that would hang for a long time. But I thought it looked like a wizard, so I removed the cloak. Please apply a certain amount of color to the background with the overcoat like the person in the front. The bottom layer has a background that looks like a mist like the wind. The dragon will take up quite a lot in this painting. So draw some detail and move on to the person. The person stares somewhere off the screen with a tragic expression. I thought of static production without looking at the screen, so the facial expression of the person occupies a greater specific gravity. Let’s immerse yourself in your face. It is a success if you draw with a look that looks exactly like a person. When the screen is dizzy, looking at the non-moving screen will help your eye health. Make sure that the age of the person is not too mature. decides the position and the size of the eyes well. The calm hairstyle adjusts the volume of the top and back hair appropriately. In the end, you are drawing a virtual person, so you can imagine as many places as possible. If your hair is in contact with your face, Keep in mind that just the hair can affect many aspects, such as the face type and overall outline of the person. decides the face to some extent and expresses the costume. At this time, please draw the number and position of the buckles roughly in your head. decides the structure of the clothes that are tied or tied together. It is better to represent the part that has been torn mainly as the part with much friction than the part with little friction. The handle of a long sword draws while imagining the design. I dug a ditch so that there was friction when holding the sword. The designs I planned for the first time were mostly related to dragons, The direction applied to only one part was selected so that it doesn’t occur too much. I’ll decide by imagining the arrival of people. There are a winding string and a buckle just because I chose an old design. I tried to keep it from looking like a new one. Wrap a buckle made of string around where you can wear pockets and accessories. Be mindful of what you can fix. However, in fact, it seems that this apparel is very impractical. drew a cloth wrapping glory wounds inside the leather. If you are playing a game, the hero will almost go, but you will always get injured. It seems that there is a great possibility of being injured. Firstly, the position and clothing of the accessories were roughly determined. From now on, it’s time to draw a little more detailed expression. I imagined a pose that grabbed something, such as relics, (not a finger hat). drew items that seem to be related to people. also put on protective gear that didn’t look firm. The part that took only the rough position will also determine the shape. When the first stage progressed, I used a square brush to take the picture position. Then I used a much rounder brush. The reason is that it is easier to draw when the size is reduced Since there is no right answer, let’s choose a brush according to personal preference. It ’s better to use a specific type of brush like me when expressing different textures I think that the expression of the texture will become easier if you use various texture type brushes. However, I feel ease when using a familiar brush. The material of the iron lump, such as a buckle, should not be overcoated with a light undertone so that it can be seen. This is because later light colors use moderately heavy colors to express with the Color Dodge attribute. And it can be applied in the same way when drawing a golden object like the shield now visible. After deciding on the design, please express light in order of decreasing lightness on an appropriately heavy color. Then, use the Color Dodge to express the bright part around the part that is exposed to light. Proceeding in this way prevents the brightest areas from becoming too saturated. Next, I will draw the buttons, pins, and strings that make up the costume again. If not intentional, avoid uniform thicknesses and repeated designs when drawing costumes. You can get more natural results. drew a string hanging from his elbow. But the image and silhouette that I imagined for the first time didn’t match, and they removed it again. There is room to continue to modify the design structure and colors while drawing. It is also a good practice to control each piece of jewelry after separating it into layers. For natural results, check the areas that will remain visible until the picture is complete. Continue to describe the shape and finish. Please be careful that small items that have been decided with different colors do not resemble other materials in the process of drawing. It was also helpful to imagine the details, such as the traces of the battle. Now that we have finished the person to some extent, we will move on to the background dragon. draws characteristic appropriately while imagining image of dragon expressed in movie and media. Care is taken so that the sharp scales and teeth are appropriately represented in the silhouette. When the picture is completed, it should express the sense of distance using the Screen attribute. The detail is expressed by adjusting the size to match it. I drew the skin so that the dragon’s wings were broken, and the depiction of scales larger than the face showed a sense of distance. drew a sharp silhouette little by little and explained the shape of the dragon. The expression of the dragon is already over. After finishing the details of the person, you can complete it by expressing the sense of distance of the dragon. Please feel free to leave any parts or comments you would like to know. Thank you for watching my video to the end today. See you in the next video.