Drawing the sky

In this tutorial, I will try to show you how quite quickly and quite easily you can draw a sky with a small number of clouds.

For drawing, I used a simple round soft brush, as well as for the lesson I used the brush from the Adonihs package – Cloud Brush 2

Materials for the lesson:

Brushes

PSD

A little advice: Try not to use the brush for the clouds quite often and often. Otherwise, your drawing will not look very believable. This brush is very good to use to create a general background and a barely noticeable haze. Detailed and self-drawing clouds produce, if possible, with a soft brush with varying degrees of pressure and opacity.


(click on image to enlarge)

For a start, I filled the canvas with a gradient fill. I took the dark blue and light blue colors shown in the figure below. Since we are trying to draw the sky, on which we are looking from the bottom up, the lower part of the canvas will be farther from us, and that means lighter and paler. Do not forget about it in the process of drawing and try to maintain this ratio throughout the work.

Now that we have done the most important, let’s try to draw a sketch. You can, of course, create on the fly, but I prefer to arrange somehow the composition before starting to draw. I wanted to display light feather clouds from below, place the sun on the right, and under it a small cloud. Well, the hero of the picture will be a trace of a flying plane. After you make a sketch, it is best to keep it on the topmost layer and periodically turn it on to compare it with what you have. True, not rarely, the composition may change in the course of drawing. But it’s not scary. The main thing is that this does not happen by chance and then did not have to fix everything.

The main brush for drawing clouds from me is soft round brush (Soft Round Brush). I usually draw on a large canvas (this drawing was made in the size of 2400 * 3200 pixels). But all the while I was painting, it was reduced to 25%.
I prefer to draw with a very large range of brushes. Yes, and for the aircraft and small parts will need to increase, otherwise accuracy may not work.

So soft round tassel with a very large diameter, I brighten the surface where the sun and cloud will be. What does it mean – I highlight? I just draw over the places I need with low opacity and pressure (approximately 20-30%) – where there will be a sun, a cloud, and feather clouds. That is, chaotically, but deliberately fill the canvas with a lighter color. In order for the work not to be completely monotonous, I add the same blue color to the center, but a little different from the existing ones. You can choose any color you like. Just remember that it should also be bluish-yellow.

Tip: Do not skip this step. Because of laziness and the desire to quickly begin to draw clouds, many skip this seemingly insignificant step. But it is he who forms the beginning of the sky volume. If you do not do this, your sky will look flat, and the clouds will be sharp and cardboard.

All the same brush , but with a small diameter I mark the first bands of clouds in the distance. I paint with a slight opacity (20-30%), sometimes with straight lines, sometimes with hatching or even spirals. Try different options and leave those that you seem more suitable. In fact, there is nothing complicated. The main thing to remember is that you need to draw with a different diameter and, as it were, layer by layer, gently pass over the top.

Tip: Try not to strengthen the clouds immediately to white. Do it gradually. Remember that the lines should not be continuous and continuous, and most importantly should not be dense and thick. That is why we draw soft tassel and at low opacity. Only by the end you need to increase the opacity and carefully detail the thin stripes or spirals.

I continue to lay the band of clouds at the bottom of the picture and sketched the base for the clouds that I plan to place to the right of the airplane. Note that I did all this with low opacity and even for light detail I used a range of about 40-50%.

Now, I took tassel from a set for drawing clouds and with very low opacity (20-30%) and walked along the right upper part of the picture gradually mixing colors, taking with a pipette those that we got in the picture. Thus, we get a smooth transition. There is nothing to explain here. This step is identical immediately to the first step after flooding the gradient. The difference is only in the brush.

I did not like how I located the cloud on the left and using the filter Liquify I slightly modified it and pulled it to the left. In general, this tool is quite useful for correcting what you do not like. Here the main thing is not to overdo it.

Tip: Save often. Especially if you are just a novice artist, then save more files so that you can roll back. If possible, draw on a small number of layers, simultaneously merging them together. A large number of layers is not a crime, but they eat a lot of memory from your computer. Well, a small number of layers gradually kill the fear of corrections.

Now that we are a little pohamanil over the image, I return again to the round soft tassel . I increase the opacity to 50-70% and draw with a very small diameter. What am I doing? That’s right – a little detail of the clouds. The main thing to remember here is that the strokes must be short, sometimes even just dotted squiggles, spirals, sharks. Do not draw long, straight lines or curves. Make it all in small pieces. And if at the same time, the pressure of the pen will work well enough for you, then you will see how much difference there will be between continuous squiggle and pieces. So, I have a little detailed the clouds on the left and darkened the clouds a little on the right, since I missed the clear sky.

Having carefully studied my drawing, I decided to abandon the arc-shaped cloud on the left and painted it with a large soft brush with low opacity, overlaying it layer by layer. The most important thing here is not to be afraid to abandon the idea and invent something new. There is nothing terrible about redrawing. But usually this understanding just comes with time. Now, with a brush for the clouds, with low opacity and small diameter, I sketched a cloud on the left and reinforced the cloud in the upper right corner, creating noticeable transitions that can be taken for soft cloud transitions.

Tip: If you just lead the line with a brush for the clouds, you will get just a spot with torn edges. In order to get the volume, again you need to make small strokes with this brush. Putting them in a random order and already visually only look like you like it or not.

All this time, I paint with exclusively white color, or taking a color with a pipette directly from the drawing, when I made the total mass for the spot on the right, where the sun will be. But for the cloud, I also took a dark blue color and added it to the bottom and slightly between white. Since the light falls on the cloud from above, a small shadow will be from below. It is almost invisible, but gives a sense of volume.

Armed again (and again, again) soft tassel with already high opacity (about 70%), I added details to the clouds on the left, giving them a bit more volume. And again, I make it very smooth and short strokes. Sometimes just put the points.

Then I took a light yellow color and added it to the upper right corner (soft round brush with low opacity (~ 30%) and large diameter), where I have the sun. Do not forget to ensure that the upper left corner remains dark and clean. There you can add a little purple in order to enhance the depth.

Further actions are not much different from all previous ones. I enhance the white color on feather clouds with small and large diameters with varying degrees of opacity. If I don’t like the place, I don’t wash it, but I draw it on top brush with a large diameter and then detail again. If you erase – you get a gap, which then will be harder to fix than to paint over the top.
I clean the sky where there are no clouds, as it is a little polluted by a lighter color. Smooth transitions from dark blue and down to light. All this is done elementary by the same brush with a large diameter and low opacity.

The process comes to an end. Again, I process all the clouds a bit and reduce saturation at the very bottom. It seemed to me that the clouds there were unnecessary. They stuck to the bottom of the picture, removing the sensation of volume. I reduce the saturation very simply – I simply paint over it with a brush with a large diameter and low opacity. The main thing is not to regret what you drew.

Tip: Try to paint in such cases on a separate layer, and then play around with its transparency settings, choosing the interval that you find most ideal. And when you are satisfied, merge the layers.

I filled the remaining space with two lanes from the plane with a brush for clouds with different opacities and diameters.

1. First, I drew one lane with a thin round soft brush, then I duplicated it and, turning a little as I needed the transformation, I placed it side by side.
2. Increasing the resolution tassel for clouds with 100% transparency, I walked the entire length of the bands, gradually increasing the radius of the brush.
3. Switch to eraser, I lowered the opacity to it and set up a brush for clouds as an eraser brush and corrected stripes that I had gotten a little apart because the cloud brush does not fit in a straight line.
4. All the same erased, but with a larger diameter, I slightly wiped the tail, making it more transparent and dissolved in the sky.
5. And then a couple of brush strokes painted the plane itself. The plane is drawn in such a situation just a hard round tassel white color. That is, we draw only glare from the sun. And that’s all.

Slightly tighten the contrast automatically and see that I like the result more, although the difference came out and not too noticeable. Add a filter Render-> Lens Flare (Filter – Rendering – Glare), setting a point with the “sun” in the upper right corner. All values ​​leave the default.

Tip: If as a result of this you have formed circles in the upper corner, go over the top with a brush to mask the result of the filter.

That’s all!

If you do not quite understand how this work was drawn, you can download the PSD file with the original work size and with a large number of layers.

Posted by: Vakhara
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