Much like my leaf tutorial this is another crazy simple guide but it might help a few of you! I love to get a lot of thumbnail type ideas down first before I settle on something final so I like to use this quick method as a way of exploration, basic research into what I’m trying to achieve and a means of creating variety in my work (I hope!) On the flip-side I know a lot of people struggle with creating environments in general, this could be a good way to ease yourself into drawing them without getting too bogged down in details and technicalities, just blasting your ideas down onto a canvas!
The first part of the cloud tutorial is finally here :D You can view the full version on my dA. Part 2 will be posted after I get back from SacAnime.
Here’s thefree download link to the Photoshop brushes.
I hope this will be helpful to you guys! Have fun painting!
-Gif of the tutorial work progress (best viewd in Firefox)
Sitting Poses References
Incredibly useful advice. Heels can be tricky!
i need this ref for when i draw dave in heels
Hey ya’ll, if you’re struggling with towns or scenes, this is great
MY ENTIRE COMIC IS CITY SCENES IM SO HAPPY YOU MADE THIS.
/SHAKES ON THE FLOOR IM HAVING
AN ART ATTACK
OMFG I… I will try this out asap wow
WHERE HAVE YOU BEEN MY WHOLE LIFE?!
On the internet generally avoiding people I’m sorry xo
In a continued effort to share (and thus care), I’m now about to embark on another full-of-rambles explanation of my usual process towards making an image. Apologies if I skip over something crucial.
Today we’ll be going through this image.
Not all of my sketches end up as close to the final image as this one but everything kinda worked out this time around. I usually work REALLY SMALL at first to ensure the basic composition reads. If my throwaway doodle translates then I scan it, blow it up, and redraw it until I have something like this. And it’s worth noting that I always put pencil on paper first. Some talented souls can swing a sketch right on the computer but I am not so gifted. There’s just something special about graphite on dead trees.
2. PLANNING COLOUR
In my younger days I would think, “Oh hey, I’ll sort out the colour laaaaaaater.” This never worked. Now I’m slightly more reasonable and plan the image before rendering. I rarely get it all settled on the first try but every so often I’ll luck out. You’ll notice that this image did change slightly whilst drawing and I think that sort of flexibility is important.
3. MAKING BASIC SHAPES
I don’t think my process is earth-shatteringly unique but this next step might be less common? Heck, I don’t know. If you use Photoshop in this manner then let me know. Oh yeah! So the previous step was done in Photoshop with the sketch on top (set to Multiply) and then colouring underneath.
So I spent a lot of time with Illustrator before getting a tablet. I think this, combined with my fear of creating something that I cannot change, has lead me to what might be a silly process; I draw each shape on a separate layer. Or rather I render any two objects that touch (visually) on separate layers in the file. The pink eyes are on a layer above the head, which is above the dark green snakes, and so on. I’ll go on to explain why in a minute.
4. SHADING THOSE SHAPES
Now that we have all of the core shapes drawn and on separate layers, we can start to shade and add texture. Part of the reason why I like all the shapes on separate layers is due to the ability to lock transparent pixels (clicking on the little checkerboard on the layers palette does this…Google it). By locking the pixels I can now paint freely within the confines of the shape I’ve drawn.
I systematically go through the shapes and alter them as needed.
In illustrating this way for a while I’ve found I’m fairly comfortable putting multiple objects (that don’t touch) on the same layer to save space in the document. That way I can have 10-20 layers instead of a single layer for each individual shape. As to how I decide what to separate, it really depends on where I want clean breaks or if there is meant to be a major shift (in the lighting, texture, and so on).
It’s a lot of this so below is a quick GIF that goes through this step.
And that’s the bulk of the work. The brushes I use differ based on the texture and intent of the piece but even the basic shading of some of my simpler images are completed in this manner.
With all of the main shading done I go back and, on a separate layer above all others, add the little lines and spots that really tie the room together. The GIF from step 4 actually shows the final image but we won’t dwell on that.
While this GIF goes through everything at rapid speed, I would say the bulk of the work goes into stage 4. Though sometimes I spend a lot of time planning out the colour.
And that’s pretty much it! Of course each image is unique but this process pops up in a lot of my work. Sketching almost always comes first and now I plan out the colour before moving on to shape-making and adding the shading or texture. Then after a few details at the end it’s pretty much done!
I hope this helps. If there are any gaps that you’d like filled then feel free to ask.