# Creating Kei - Episode 8: Rendering Aradicus ## Метаданные - **Канал:** Sycra - **YouTube:** https://www.youtube.com/watch?v=UMCjsEb-IUY ## Содержание ### [0:00](https://www.youtube.com/watch?v=UMCjsEb-IUY) Segment 1 (00:00 - 05:00) hey everyone cassin here and in this episode of creating K I'm going to try to um render this image of articus just make him look kind of more 3D um and I'll use a different technique than I used in the last episode where I did the image of K but otherwise I'm going to try to keep it similar in that I am still going to work with like I'm in real time and just talk you through what I'm doing so there will be no fast forwarding or anything like that um so let's just look at this and see is there anything that's very off and I kind of see that this like this horn goes doot D and then this and this one goes doot that's kind of weird um so I'm thinking I might want to change that and bring it so it's more like the other one so it goes down in which case this would need to be more straight um so there's that uh but otherwise I think should be okay so um last time it was really about a gray scale to uh color um technique and I do like working with that but I actually work with tons of different techniques so I don't just have one fixed way of doing things so um I'll just show you a different technique where this time we're not going to go from Gray scale to color but what we're gonna do is more um just focus on light um I mean in the other version we're still focusing on light as well so I don't know uh let me just make a value Checker layer the top so what I'm doing is you just have to fill it with any desaturated um value like anywhere from white to black it can be gray I mean it has to be like no saturation then set that layer to color mode and then you can check the values and that helps you to see you know if things look good all right um and I'll change the background so it's darker and I'll give it a bit of a color so often when I do backgrounds um I look for a color that already exists in the character so in this case I'm thinking if I want the yellow to stick out kind of going towards this blue might be good um and I tend to go kind of desaturated uh so something like that seems fine to me um so now what I'm going to do is I'm going to desaturate this a bit like the image of the guy not that much but I want to desaturate it just a little bit so I have a bit more um color to work with uh when I bring in the lights so let see I'll lighten it a bit and desaturate bit okay so one of the things with cell shaded stuff is it looks fine if everything's super saturated but as you add more values um to things they start to look worse if they are too saturated um so that's why I kind of desaturated it a bit so I have the original on a layer and background and then this like lighter and desaturated version okay now I'm going to duplicate that and I'm going to um hit control U that brings up the Hue saturation slider again and this time I'm going to increase the saturation I'm going to decrease the lightness and I'm going to change the color a little bit more warm so I moved it towards the red like you can that's too crazy but uh you can move it towards red like that or more towards green like that and I'm moving it a little bit towards the red so what I'm going for is ### [5:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=300s) Segment 2 (05:00 - 10:00) kind of like if you turn the lights out what would this look like um so it's kind of the lights off version and then what I'm going to do is I'm going to make an adjustment layer which is down here hit the half white half black circle going to hit Hue saturation um actually I could do this a different way I'm going to use a photo filter uh here and I'm going to cool it down so right now it's a warming filter I'm going to use a cooling filter and I kind of like this one okay so now I'm going to take this layer and clip it to this layer underneath so we have this and I can kind of see how much I want uh this is pretty much okay so now I'm going to merge that down so now I have um this Shadow version and this light version and now what I'm going to do is basically just be uh I'm going to turn a mask on so now I've got this masked and I'm just going to be painting with black on the mask layer which will reveal it will kind of erase the shadow so we get the light showing through so it's a bit hard to explain but it's easy to show um but before I do that I actually want to go ahead and put in my um my ambient light and maybe some Deep Shadows so I made a layer above uh this guy and I'm going to clip down to or I'm not I'm going to just select this and I'll make a mask so now whatever I paint on this layer is just going to stay within here right and I'm going to use a blue and I've set this to soft light and I've got a blue color and I'm just going to paint the top facing planes so this is facing the top so it's still going to kind of look like the lights are off but that there's a bit of light from the top now and this is just going to be as if there was sky like above him so any plane that's sort of facing the top is going to get some of this blue on it um so the nose uh the top of the nose is going to get some of this blue and again the layer mode is at soft light so you get this very kind of like soft uh feeling of light I the name is pretty good soft light you get a soft light so these fingers those are all facing up this part's facing up this is facing up so these are all the planes that are facing up but they're not necessarily the direct light source so the light source already kind of is coming from the top down um so I guess that's already established but uh the important thing is that if you weren't um like if you weren't doing an image with a fixed light source where the light's coming from directly above um for the direct light and you were doing it for um just like there were no Shadows put in uh then you could do you could still use this if this was representing the sky and you'd still hit the top planes and just have the direct light coming from a different direction don't know if that makes sense or if that's clear or not um but hopefully as I do more it'll make more sense like you'll see it as I do it so that's facing the top this is facing down but this is kind of facing up this fold that's facing up this front of the shoe is actually facing up so I'm going to hit the entire front area of that shoe and then this part of this horn thing on his shoe going to hit that and maybe a little bit on that back shoot but not too much so I I've just hit all the top surfaces now with this um blue soft light so it's already added a bit of um rendering two things so that's good uh now what I'm going to do is go back to this Shadow layer you can see if I turn on the light I guess that's what it is turning on the light so I guess I'll label the layers background ### [10:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=600s) Segment 3 (10:00 - 15:00) uh original Lights Shadow and this is um this would be ambient light okay so now I'm going to think about where the light's coming from and reveal the light there so I'm going to hit maybe I'm going to make it a little bit at an angle right now it's kind of coming straight from the top down but I'm going to hit sort of um if you think of a box like this I'm going to mostly hit this W light but I'm also going to have this getting a bit of light as well and then the brightest part is probably going to be the corner of that the edge where this turns cuz that's usually what happens is the edges and the corners of things um get lit up so yeah that's kind of uh the reason behind that is because on like the light is the brightest you'll get Reflections when things are directly um perpendicular to the light it will create a reflection and it's very rare to get a Surface that's perfectly perpendicular uh to the light so that the light like bounces uh and gets a mirror reflection to you however if you have an edge and you zoom into an edge it's not like that it's like if you zoom in you'll see it's made up it's kind of like that like there's no perfectly uh sharp edges and so from here there's a bunch of different planes right so the chance that one of these planes is perpendicular to the light um I mean one of these is probably going to be perpendicular to the light because there's so many planes from here to here that wherever you get that plane that is perpendicular you'll get the mirror reflection which will create a reflection of the light source which will look like a highlight so that's what a highlight is it's a reflection of the light source all right so going to work just paint in uh sort of top and a little bit the side and so I'm using a soft brush here and I really want to make sure I don't hit into the shadows I'm more focused on you know just getting the light um but I you could use a hard brush um as well uh I'm opting for a soft brush for this one just because I'm going for this kind of almost like um an action figure I kind of want to get this plasticky look uh going on so uh for that reason I'm using a soft brush you could use a hard brush as well though um so let's hit this area and I'm kind of thinking about the form so I think of this head uh kind of like a sphere first so if the light was just affecting it uniformly it might be something like that where it's brightest in this area but I don't want to go into these Shadows so but I'm I am thinking about it like a sphere again I'm going to hit you know some of these planes that are facing towards us um and then let this area on the side be a bit more in Shadow and pretty quickly you can get um things looking a lot more 3D where wherever there's an edge like here this I don't know um this area folds down so you could You' get an edge there um you can get an edge here and then the fingers and yeah it's a pretty easy and quick method um if you're lazy like I am you appreciate the easy and quick methods um but it's also just time it's just efficient for time to have these I'm not saying like you should only do processes that are faster just because they're fast um do what you ### [15:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=900s) Segment 4 (15:00 - 20:00) enjoy but I do feel like um I don't know there's it's not bad to share methods that are fast and effective um so you can see as I said it's gets pretty three-dimensional quickly and I just have to really think about the forms of what I'm painting now I have black uh on this airbrush just a regular airbrush and if I paint black I reveal things if I want to go back to Shadow I just uh go and use white so I'm alternating between black and white as I need to add or subtract um and then I use x to flip between the two so that's I'm doing it and this is getting more three-dimensional um this part of the shoe might get a bit of light the side of the leg might get hit maybe a bit of this body um but yeah so now we've got a bit more value see if I do it before and after you can see how it now looks three-dimensional so now what I'm going to do is add occlusion so occlusion is where things get very dark so dark that you can't really see um and uh I mean not it's so dark because the light has a hard time getting into it sorry so there's a few ways I like to do occlusion and I'm going to I either use levels like this you just get a level adjustment layer and you bring the middle slider uh down towards the white area and you'll see how everything gets dark and then so I either use this or uh what happens is it does saturate the colors quite a lot so if you're not going for that sometimes it's better to use Hue saturation just darken it down like that uh I usually increase the saturation a bit and then and make it a little more red so that feels like it might work better so now I have this on its own layer and what I'm going to do is fill it with black and now that it's filled with black um wherever I paint it will reveal that uh darker tone underneath so now I paint with white but I'm only going to hit the areas that are deep in Shadow so for instance here uh light might have a hard time getting in so I'm going to fill light in there and yeah I'm not sure this actually works for the jacket because I'm getting this kind of like a brownish tone which uh on a jacket like this it probably would be more saturated um so yeah maybe I won't do it on the jacket with uh the occlusion um but maybe I will do it on the face and stuff like that so under the neck maybe on that nose a bit but yeah it is getting kind of dirty so let me check and see what I can do um can make it more saturated that'll get rid of some of that dirtiness okay so that should work better now yeah um so yeah you don't want to overdo this I think that's the biggest danger is just overdoing it and I just want to kind of look for planes and see what like what would be good to hit with things like this so maybe just under areas or where like two things touch uh like this area in the armpit that's probably going to be a spotl has trouble getting into and again if you mess up you just hit X and then paint with the opposite so in this case black to take it ### [20:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=1200s) Segment 5 (20:00 - 25:00) away and uh Big Brush Strokes will get you more subtle and uh cool transitions so I'm not going to really worry that things go outside for now I can clean that up later uh very quickly just trying to get the big areas down and then areas that really need to go dark I'll zoom in and kind of do that carefully because you kind of don't want too much occlusion usually occlusion is just at the darkest areas um overdoing it actually makes things look less cool less 3D so kind of got to be careful and disciplined with how you use this technique and as I said I use a bunch of different techniques at different times and I just kind of thought maybe it would be nice to share um different techniques with you just in case you know one of them is like hey I like that one I want to paint like that then all right well now you kind of see how I do it so I'm going to have this back leg go more into Shadow and then this area where the knee bends can get a bit darker now underneath here I kind of want it to go quite dark and I'm also thinking about this as how it's close to us so it's going to get more um more contrast than things that are further away they tend to be less contrasty underneath the shoe I'm going to hit that again don't worry if it goes off CU I'm just going to select the mask and then delete the areas that are outside side of that um so yeah kind of got most of that in probably around the horns it's going to get pretty dark all right maybe I'll kind of drawing some individual hair strands we've got the big shape so once you've you can kind of break it down fairly easily into individual Strokes um I don't want too much on the glasses though because those I kind of want to pop out so I'm going to go in the shadows and actually make sure there are like less Shadows on the glasses so I get like a reflection on them all right now I'm going to select around the character hit shift control I or shift command I and go to this Hue saturation and then just fill that with black and then it gets rid of everything on the outside so now it's starting to look more three-dimensional compared to where we started um but the colors are getting a bit ugly so that's something to I guess be aware of um that they might get ugly uh and then you could stop here and call it like done um maybe put a shadow on the ground guess we can do that I'm just going to take color soft brush get like a shadow underneath kind of thinking about the shape of the shoe I'm kind of not worrying about the color of the Shadow I'm just painting in a shape for the Shadow and then I can worry about color and stuff after so now that I have the shape in um I can lock the transparency of that and take some of this color and sort of just paint it into the shadow so the shadow is kind of picking up reflected light and then the areas ### [25:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=1500s) Segment 6 (25:00 - 30:00) around I can sort of soften them and blend that in with the background like that um so yeah you could stop here or you could start to actually make it more um like bring more of the light in so uh last time I talked about the importance of uh Rim light how Rim light can really bring um make things look more 3D because it enhances the what am I trying to say it shows off the planes better so I'm going to go ahead and do that again made a new layer and I've got layer uh linear Dodge on and I'm using like a gray if it's too light or dark I'll adjust it um but this should be okay for now and I'm going to uh make sure I have uh the layer masked so I just took the uh ambient light mask hit alt or option if you're using a m a Mac and then dragged that mask and then it's here now so whatever I paint stays within this and then zoom out and then I can go ahead start to add this light so this is what's really G to pop things out and I'm just painting directly over the lines so the lines disappear and having those lines kind of disappear will help with the effect of uh kind of looking like 3D and not or looking threedimensional not like 3D but just looking threedimensional um hit the back of head and I'm thinking like the light's coming from the side so because everything was kind of Darker in the beginning this really shows up more um and I'm doing this kind of heavy-handed just hitting all the areas um and it's probably not you know it's probably not super realistic but it is effective for quickly conveying information so I'm thinking about you know what planes to hit and um this is like we're about 30 minutes in now so it's sort of a fast way of getting stuff in even if you were just going to paint it sometimes Um this can help to just get a rough sense of the image down quickly and then can worry about um you know fleshing things out and it's a lot easier when you have some information already there so I kind of have values that are already there um and then I can select from them so for instance with the hair like I can this as a highlight color because now I have it there um and again it gives this sort of plasticky look which I mean not a huge fan of it personally but uh I do see that it's fairly popular these days and I don't know I think in some cases it helps if you want a character to not look too realistic because that could get kind of strange I'm just using an eraser to smooth out that a bit I felt like it was a bit too strong that's something you can always do you can put in stuff and then sort of knock it back if it's too strong and that is completely fine um maybe the edge of this these Shades get like hit with light let's go on this nose pop it out so like light probably wouldn't hit here right the hair would block it and if you were you know ### [30:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=1800s) Segment 7 (30:00 - 35:00) strictly doing what is realistic you probably wouldn't put that here this light but I just want to convey the form so I'm not necessarily interested in what looks realistic I'm just trying to get what looks like what shows off things so uh in my view cheats are okay so long as they help to tell the story better um and in these types of like in the cell shaded thing it's kind of hard to get some of the details about the character so um you know I can't really say what the wrinkles look like or you know tiny little details what are the what exactly do his knuckles look like or something like that but I can do that in this version um so as you add more rendering kind of allow ows you to add more information more detail bring the characters a bit more to life so I switch back to a soft brush and I mean mostly that's sort of okay for a block in all right so I me maybe I'll add a bit to this back maybe there's a bit of light coming from behind sort of hitting into some of these Shadows but I'm doing it a bit lighter so it will show up but it's not as strong as the light coming this way all right so I think I'm going to throw on a color balance layer to just bring these colors together a bit more because right now um I'm getting kind of Muddy colors um before I do that though I do want to strengthen some of these um Shadows especially in the shadows of the jacket they should go a bit more colorful so I'm going to make a new layer I put the layer mask on it as well going to set it to Overlay and get a pretty saturated color and I really want to uh make these Shadows more vibrant so I'm adding some of this in there um so this might be a bit too much we'll see I'll put it down and then I'll evaluate it but I do want these Shadows to not lose their um saturation in especially in the shadows uh for these glasses I want those to be more strong so I'm going to bump those up just using a saturated color will bring those colors out um and then maybe with the blue um especially on this symbol you can even kind of go around that so it kind of glows a bit maybe even with the glasses I let some of that light um blend into the area around it that can kind of help to bring things together like here I have a lot of blue so if I brought some of that blue and reflected it into his face Maybe into the hair a bit uh that can work uh for you know bringing things together and having these bouncing lights coming around um you know here I want to bring bit more um vibrancy to these parts of the boot so I'm going to add that in maybe the blue Parts get a bit more blue as well and then there's a lot of blue here so that probably will bounce into this horn area as well okay so uh maybe just this underneath I'll add a bit of reflect light from these shades on the bottom of these horns I think it kind of looks cool kind of brings things together more and maybe with a hair as well you know just bump that up a bit so we're not losing too much saturation all right so now I'm going to throw on a color balance layer um and just see you know this uh is going to affect both the background and the character by the way so I'm just going to see what you know what looks good uh doing this back and forth so as I go more towards the cyan you can see how ### [35:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=2100s) Segment 8 (35:00 - 40:00) dead the Shadows become so I don't really want to go that way usually I warm up my Shadows um kind of bring It a bit more purpley uh and I desaturated the colors a bit in the beginning because this is already very balanced and it's too kind of a purpley blue um tone so if I didn't desaturate it and I balanced it would kind of be Overkill so here I'm just going to look for what works um do I want to go more yellow or more blue I mean both give different feelings maybe I'll keep it probably more in the middle so zero and that's the Shadows now I do the same thing for the midtones and again I'm just checking like what do I think looks better maybe I want to pump the yellows up a bit more and then for the highlights so again this is sort of a cheap way of doing things um but you can see kind of brings everything together so at this point what I can do is make a new layer and then just kind of paint from here on out so I've got a lot of information down here a lot of color a lot of um and you can see if I turn the value on it's quite a lot more 3D than when it started right uh but you can still see lines in places um things aren't fleshed out but I do have this stuff I need kind or at least most of it is on the page so now what I can do is just a slow process of you know zoom in get a brush here I'll use a paint brush and just really I guess just paint um I do want the mask for now I don't want to be painting into the background so I'm going to just copy the mask on him so whatever I paint stays within this but I can go ahead now and you know see this area with the black line I don't want that black line there so now I can just go ahead and clean up and this takes time but you know still faster uh having all these values down than if you didn't um it does speed up the process quite a lot because I don't have to you know kind of think about every color while what color is this what color is that the colors are kind of on the page and they're there for me to just color pick from so I'm using the uh ey dropper and uh I use alt or option uh temporarily changes the brush to the ey dropper so you can you know select colors and get rid of a lot of this black uh another thing I could do actually is I can make a hue saturation layer I think and set it to lighten and then just raise this and it'll just get rid of all the darks a little bit if they're too much um but it does it globally I don't want that okay never mind don't want to do that I'll use do the same thing but I'll take this is kind of the dark as it is I'll just put a hue saturation layer and lighten that um and change the color it a bit warmer so it's kind of knocking back some of those um lines but I realized that maybe it's not good maybe it's not worth doing okay I just that's the problem with doing these live is stuff happens that's not you know you didn't plan for but that's okay so yeah I changed my mind about that um but anyway you can just go ahead and continue with the detail work now so you know these glasses maybe just get rid of the lines here and it's not like you can't have any lines at all um but for the most part it ### [40:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=2400s) Segment 9 (40:00 - 45:00) does make things look more flat if you have lines um but I mean you do see certain things outlined in nature so it's not like they can't exist so now I'm doing the hair and again I if I need to I'm not going to do this too much right now I'm just doing it to show you but you I can add in like individual strands as needed and I'm just selecting from what I already have so all the colors should be harmonious and working well with each other um everything should play nice because it's all balanced and we already took care of that and then in terms of like the areas of light and Shadow those are kind of handled as well so you know he's got eyebrows like this but they're probably not going to look like that um You probably they're going to be the same color as his hair and eyebrows tend to be softer so you know can add some softness to that and you know I'm trying to not lose everything that I got in with some of these layers like this uh reflected light on the skin where it gets really pink cuz it's close to the horns and the glasses I kind of want that so I don't want to get rid of everything uh when I'm getting rid of the lines and I'm trying to think about brush Strokes when I'm doing this um I'm just trying to get better at doing that because I don't do that enough uh but either I want the stroke to go um you know around the form like if this finger is you've got two axes you've got one axis like this and then one like this and I want to either follow one or the other so I don't want to be doing like this for instance brush Strokes like that I either want to go this way or this way around and I'm just basically you know just painting at this point so I'll do this a bit and then I imagine at some point it's going to get fairly boring to just watch me um doing you know just detail work uh but I do want to kind of go through it at least a little bit just to give you the more accurate sense of what it's like uh so you don't feel like I'm just you know doing a little bit and then turning off the camera and then just fixing everything and you don't know how I did it because I kind of hate when I watch videos in there kind of skipping through Parts because I feel like wait wait what did you do I want to see um so for that reason I'll do a little bit more in this uh but I think you know at the end of the day if you want it to look really realistic I mean if you're like me and you're not super skilled cuz I'm sure there are people who can do it in a much cooler way but I think for me anyway a lot of it just comes down to time uh really just you know rendering each individual form taking the time to make everything all nice and you can see I'm just working on a hand right now and there's so many areas that need to be worked on um so just again taking the time to do it all looking at areas like this for instance there's a lot of orange so maybe some of that would bounce into the skin so I can take some of that orange and put it into the skin where it would bounce like around the butt of this Palm right like there it could actually get quite yellow again going to get rid of some of the lines here and you can see because we did the initial part where I put in like that blue soft light from the top and there's shadows and stuff you can see just how complex some of the skin tones are getting like there's a bit that's blue um a bit like orange some more pinkish areas and I mean you can do that too where you go and into the knuckles and just warm them up a bit bring a bit of pink into that ### [45:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=2700s) Segment 10 (45:00 - 50:00) if you want depends on what skin tone you're working on but uh all those little things those are just time so here get rid of those lines bring more yellow into this I'd rather have um The Edge be kind of yellow with this jacket than a blue because different materials respond to light differently and with a lot of yellows they tend to stay in the yellow family from what I've noticed like gold and stuff it doesn't get that different um like the color doesn't change that much uh there's a few colors in it but everything's kind of geared towards the yellows and the greens and the Browns it doesn't get like bluish um and I'm being sure to kind of switch to the like I I make a few Strokes I hit alt I select the color again I hit alt and then pick up that so I'm always getting kind of fresh color and I get to manipulate the colors so here for instance I can go bit warmer then that feels like that went in now and yeah I mean after you do this tedious stuff you know it starts to eventually look okay and then seems to be what um a lot of people respond to and especially in work I've done that's why I don't feel like uh sometimes people will say oh you got worse as you cuz I'm doing cell shading they'll and interpret it as um I got worse or like why did you stop painting why did you get worse but I don't think of it as worse I just different so um for this for instance you can see it's just the same basic form stuff over and over again it just the more you do it the more variety you have the longer you spend on it the more um the more realistic it's going to look and maybe that's impressive but for me um it's not like it's unimpressive uh it's not like I think oh it's completely pointless to add value and subtlety to things it's just I don't think it's more skill than just drawing I think it's the same skill just done more you spent more time and I'm a very lazy person I like to get my ideas down but then I kind of lose interest as soon as I've got the IDE the main idea in um and kind of feel like all right let's do something else so um when it's work I kind of have to spend the time rendering but when it's not for work I probably rather just do a different piece um so yeah so for the comic it's not about you know being super rendered or anything like that and so I don't need to work on that but I do have to do a ton of boring stuff for the comic uh maybe I'll walk you through that sometime just the process of making um episodes and stuff so yeah you can see after all that time it kind of got some more progress on the hand I guess I'll work on the face a bit um and I kind of like I'll take an area for instance this area I got a bit of the Shadow down here and then I know this Rim goes all the way around so I take some of that light and I just paint over it I'll mix this so it Blends nicely and then there we have like kind of the edge um so here's the skin of the arm but there is a ton of orange here so I'm going to put quite a bit of orange into his arm and kind of mix that in so it's all kind of combining now I can almost Let It Fade off you that might be a bit too much so I'll bring it back a little by putting a bit ### [50:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=3000s) Segment 11 (50:00 - 55:00) of occlusion here and here see I didn't make the line I just put it in the these two corners and then I'm going to fade it off and it's going to imply the line that this went all the way around like that all right take some of this so it took about what 30 minutes to get the basic part down um I mean that's provided you have an a cell shaded image to start with um but yeah like about 30 minutes to get all the major stuff down but then this stage will you know it's been about 20 minutes but it can take many hours of doing this so you've got to be patient if you really like this type of style and you you're like well I want to paint like that and have all those details and stuff um well if you get if you do tons of studies I guess you get really good then you don't need to worry so much uh you can get much faster but um otherwise it's just a lot of time and effort that you have to put in so this area close to the finger I'm going to get let that get fairly pink and I mostly put the reflected light into the Shadows I don't put it as much into the you know midtones and stuff I just let it really shine in the shadows so like this area can let that get fairly pink because it's in shadow um but it's also pretty close to the hair so maybe right on the edge it actually gets a bit more green right on that edge of the finger then this part's close to the horn so that might get a bit Pink as part of the eyebrows kind of going around I might pick up some of that light on the side again it helps a lot to have the colors kind of done so I can just sample from what's already there don't have to worry about inventing uh new colors just can take them from the image itself so I definitely want to get rid of the black on the face black just usually doesn't um like it's not good to make your shadows go towards black usually on skin uh it's better to have it go like colorful on dark skin you still want it to go more colorful I would say um like you don't want the gray black you want a chromatic black and what that means is just a like this is a gray black here and this is a chromatic black it's actually a dark color but it will look like black this is a darker chromatic black whereas this is a black with no saturation hopefully you can see the difference between those two just rendering that nose a bit more and maybe it would have been good to you know think of it more as one big shape and do it more like that I suppose that would be faster but that's a bit of a different technique so maybe I'll do that technique another time where you just break things down into very simple shapes and work with those ### [55:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=3300s) Segment 12 (55:00 - 60:00) so under the nose it's going to actually get a bit lighter as the light bounces back into the nose and it's going to get a bit warmer so I can warm that up a little and go a bit lighter here make sure we've got a cast Shadow and then get a bit darker here as this part of the face kind of turns in don't want to go too dark so I want to keep all these values fairly subtle let's see what we're working with so yeah there's still fairly subtle and I'll just do before and after right and kind of see what's happening and you know as we do that to all the areas like the lips getting rid of the black and just letting the value um explain what's going on see this is very like bluish so I do I don't mind the darkness but I want it to be warm cuz that's where lips are filled with blood so they going to be warm let me get a sort of a warm crease there get a bit of this lip catching some light and maybe this catches some too depending on the skin tone you could um add more red to the lips I think I should add a little bit um so I'm just going to pick the skin and get a little bit more um pink in there just for that lower lip so again trying to keep it subtle get his butchin in there and also try to think about the planes like this part of the chin is still facing down um so it's important to get that so it's because it's again it's in the shadow here I can add a bit more because reflected light really stands out in the shadows and then here this side of the face is pretty close to that collar so I'm just going to actually paint with that blue um and then sort of blend into it a little bit just to get that transition then as you zoom out sort of indicated there okay so I'll try to do a bit more on the face and then just go and hit certain other areas um as I said it's going to take many hours if I wanted to take this to a full finish but um that wasn't really the intent was more to kind of show you a technique and how it's kind of done but yeah I mean if you wanted you could entirely skip this step and just stop like a few steps before um and then you still have something that looks a bit more three-dimensional I'm just constantly asking myself like does this look right or wrong um for instance this part of the chin didn't look right it occurs to me I haven't flipped almost at all which ### [1:00:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=3600s) Segment 13 (60:00 - 65:00) is bad should flip more okay so this character erraticus is not meant to be super handsome so I don't have to worry about you know if he looks kind of ugly it's well you know it's okay it's not a bad thing based on his character um usually I'm when I'm just painting I try to make things look cool or pretty or something but um not every character is that way and wouldn't be right to make everyone sort of cool um I think when I'm working on a project like k for example in this case um it helps to it helps because you end up doing so many different things like if you have to draw background NPC character it's actually important that they don't stand out and you don't make them cool cuz if they too cool they'll fight for attention with um the characters that are supposed to be cool so you can make them kind of cool but you don't want them to you know be cooler than your cool characters or your main characters maybe even your main characters it's not the most important thing that they look cool it's that they you know feel like that character that their personality comes through and I mean yeah so before I was really much more caring about making something cool as opposed to making it according to the story because I wasn't really working with the story most of the time I was just working on single illustrations and when it comes to like card art or just illustrations like that you know comic books and stuff it is important to make the characters look cool that's what they're going for um let me just work on this thing a little bit his AR angelical symbol um so on this Edge because it's an edge it's where I said like most of the chance of reflection is going to happen so that's why I'm adding a reflection right on that edge and I used a more light color but also I shifted the Hue I made it a bit more green so if I want to go to um like a white highlight I could here's kind of like the blue right and I go to green and I'm going to keep going and go lighter then a lighter green then go even lighter and I'm kind of into a yellow green and then I can go even lighter and just be a very saturated yellow but light so not too saturated but like saturated and light CU anything that's um light is kind of not saturated or it's less saturated because you lose saturation as you go brighter like the most saturated is this area the middle and then as you go towards White you get less saturated at as you go towards black uh you can still be saturated but this way you get less saturated so I mean an easy way of getting this effect is just using something like color Dodge because it does that it brightens things and shifts the Hue and saturates them so there's that um if I don't use the like if I just go for white you can see what happens like see how you get this kind of chalkiness to it but by going through green first I eliminate that chalkiness all right um and then I can imagine some light like passes through this and hits the back and it kind of gets more saturated ### [1:05:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=3900s) Segment 14 (65:00 - 70:00) here that'll make it feel a bit more glass-like um you can play around with different Hues as well and get some greens in there some more Blues and it kind of works maybe I would make this a bit darker on that corner so there is a definite um corner there so now by making this dark and lighter that edge is much stronger all right then this is reflective as well so go put in little highlight there and the horns look really strange with this dark so that's pretty important to get rid of so there we go that's already looking a lot better A lot more threedimensional just by getting rid of that super dark area and some of these colors are from the original Shadows which were a bit too red so this now looks a lot more um realistic add a little bit of reflection on the back there so now we've got uh quite a lot of interesting Hue and value variation in this um horn thing and because this is blue I'm going to bring some blue into the bottom it's reflecting from the shoe get a bit more saturated for this Edge and again get rid of the lines there I'm trying to remember to keep the blue and the orange a bit separate so for the orange maybe it goes bit more yellow on the edge now for the pants um depending on the material they might be reflective or they might be more matte so that's you know something you have to kind of figure out I'm not exactly sure what kind of pants he has I think originally they were meant to be sort of leather pants um they kind of look more like jeans now so uh not sure which road I want to go down CU to turn them leather it's not a huge um like it's not that it's that hard but it is very time consuming or at least you know trying to not make a super long video just want to make one long enough that we get a good explanation um of the technique I'm going to take some of this ### [1:10:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=4200s) Segment 15 (70:00 - 75:00) ground and bounce it up into this shoe so when you can have um the environment influencing the object that you're painting and vice versa uh that really adds a lot of reality and believability to the image that you're working on so it's very important to think about those things so I'm thinking there's going to be a brief kind of bevel before you get to the sole of the shoe and that's pretty much going to be one value so that's what I'm kind of doing here and then because if there is a bevel what that means is there's an ed edge here so if there's an edge there's a chance for a highlight to show up go and add one there we that think I don't want his pants as reflective as I had them so I'm kind of taking them down a notch which is going to make them feel a bit more matte but I'm okay with that so if you have the drawing sort of decent then painting I always feel anyway personally that painting isn't that hard once you have the drawing it's the drawing that's the big difficulty um and by drawing I don't mean you know using a pencil or anything I just mean getting the proportions um Anatomy perspective all of that more correct um just trying to make this a bit more complicated maybe he's got a bit of a pudgy belly doesn't strike me as the type of person who would um be very disciplined about what he eats or anything like that or not the type of person who would work out either so I think it kind of makes sense for the character again that's a corner so that's why I'm adding a highlight on that edge as it turns ### [1:15:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=4500s) Segment 16 (75:00 - 80:00) then adding specular like these little highlights that I'm doing um can really change the material like what the material is made out of um because different materials like certain materials don't get specular highlights like cotton things like that where um they're very matte surfaces are not going to get uh specular highlights um but if the surface has a bunch then it's probably very shiny something like Chrome um so here want to get quite a bit darker in this area so when it comes to painting um you're able to do a lot more with edges than you are with just like a comic style I mean unless you're doing like a painted style but I mean just in drawings um when it comes to paintings you can think more about lost edges and Shadow shapes and things like that um whereas when you're only doing cell shading uh you're most likely just dealing with line so this arm I want it to be less um like distracting because it's kind of going into the background so uh I'm trying to not put too much into it um but I do want to get rid of these blacks and replace them with something a lot warmer like that I find when it comes to skin um a lot of variation tends to just be fine like it's often good to have more variation it's like you can add a bunch of colors and if they're too strong you just kind of paint over them but let them show a little bit for instance if I added like a weird green here maybe that's too strong but if I knock it back by painting over with the skin tone and then kind of Select it now I've got this kind of greenish color which isn't entirely bad so um yeah if it's too striking you can always knock it back and then this one of the things with skin is just like all the value changes are not all of them but a lot of them are super subtle so like here right if I just indicate with kind of a close value it'll start to feel like skin because it's like a soft transition and Skin's super the value shifts are very subtle ### [1:20:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=4800s) Segment 17 (80:00 - 85:00) where the uh fingers get close to each other usually it gets very warm in that area so that's why I'm saturating it here because uh the light bounces and then it bounces around and it picks up that blood and it like or is influenced by the color of the blood and so you get um subsurface scattering and the colors influence one another they get more vibrant so there's that and you can see like all sorts of little areas that need fixing for instance right there with the finger um to fix that I would have to you know get out of the Mask make a layer on top and then just you know fix that manually so I just want to get rid of some of these super obvious black lines or blue whatever it was um because they're making things look not threedimensional but as soon as I get rid of those lines Suddenly It's a lot more 3D going to see how much reflected light from the green hair I can put into this um Shadow so you know like the hair color is this well in that specific spot in the shadow that I ended up using is that so you know it's a mixture of the two colors um but it'll feel like it's being reflected from the hair onto the horn and then this horn is probably actually going to cast a shadow onto this hair it's probably going to block some light so can just that so don't be afraid to um use cast shadows and you know just big areas where you can knock it back because um images actually look better I think when you have big areas of shadow um like that see how it kind of I tried to line up the Shadows kind of close so feels like the same Shadow is affecting both these areas um but yeah letting Shadows like this whole region in here um can actually kind of darken it and let it just go back you don't need too much information there some of these tones can almost just blend together and disappear can just get dark nondescript and dark back there and doesn't look bad at least to my eye so guess we could do some stuff with the background maybe not too much but guess I'll add a bit of light maybe a bit of dark down here and want to reestablish some of these the form I think I lost a bit of form on the hair so I'm just bring it back a little bit so I just used a multiply layer because I wanted to you know get that turn a bit better you can see the value what it did and let me put that mask on it so ### [1:25:00](https://www.youtube.com/watch?v=UMCjsEb-IUY&t=5100s) Segment 18 (85:00 - 88:00) yeah right kind of helps um so in terms of values um you know it's mostly it's getting there slowly but it's getting there and then it's just a lot of the same so um I'll just use color Dodge and hit the our angelical symbol maybe hit the glasses a little bit and then tone that down because I went overboard but yeah so we got our uh picture of erraticus kind of ugly but again that's his character and the original so you can see a before and after think I prefer it in black and white but I tend to prefer everything in Black White so it's got um it's got this kind of a 3D feeling one of the last things I could do actually is to take some of the background tones and kind of go over some of these areas so I'm knocking them back into the background so and see the before and after that kind of pushes things back and that might be too much so I can just lower the opacity find a spot that looks right maybe that's okay and you can always you know just keep working on it um find areas that you have problems with like this line caught my eye and just get rid of it and just you know keep doing it until it looks good uh think I don't have much time left um so going to call it done for now um but yeah uh hopefully you know this helps uh you can always let me know if you like seeing videos like this or if you want to see something different um if you have any suggestions there they always uh welcome and uh mostly I just hope you get a sense of like there are many techniques that you can use and um if this one because this one's fairly fast like it does take as I said it takes hours uh to do a good job but it's only been you know an hour and 30 minutes or something um so I often spend you know between 15 and 30 hours on a piece um so it's not you know it's not super slow when I think about it that way um so yeah if it helps that's great and I hope it does and thanks for watching --- *Источник: https://ekstraktznaniy.ru/video/41138*