If you do not have the opportunity to spend at least a few years on thorough and painstaking learning to draw, and then thoroughly master the capabilities of the editor, and you still want to draw … Perhaps these tips for beginners will help you to at least avoid brain-bearing pictures and save a lot of time in stepping on a rake.
I will say right away – you still need to learn the basics! But if you do not have the time or opportunity, then you have two options: do not draw at all or learn in the process. If you chose the latter, feel free to read further.
Remember that everything that will be forbidden to you, of course, can be used, but you need to do it only when you understand what to do with it, otherwise the bumps from the rake will grow, and there will be no result.
TIP 1. Standard brushes in the form of grass, stars, and other nonsense – this is evil for you in the next few months of communication with the tablet and Photoshop.
This is evil, at least until you realize that you can do fine without them. In the meantime, we strictly remember that the first months of your close contact with the tablet, your only brush should be … a standard round hard brush. Well, it can be square, rectangular, and in general no matter what form. Solid. Not soft.
A soft brush, of course, is also useful, but for starters, it is best to forget about it, or if you still draw a little paint on it – do it in small doses and leave the hard brush as a priority for now. For a couple of years, I heard so many phrases like “if someone had said this to me,” that I was definitely certain that this advice was correct. So – believe me! Or hammer.
Many artists eventually make (or borrow from others) their basic brushes for themselves. Usually they have ragged edges for better mixing. But for you it is now completely unnecessary. Forget about any such brushes, which is full of the Internet. Learn to own at least a little round tough, and only then complicate.
If the desire to use other brushes is too great – go to Photoshop and delete all brushes except for a hard round … well, and still soft, and forget all known ways to create brushes. For a time, of course.
Do you urgently need grass, leaves and butterflies? So what’s the deal? Draw!
TIP 2. Your first drawing or the next one, if you have already drawn, should not be your favorite cat, dog, brother, sister, mother, father, but … tone stretching.
And .. no, not to train pressure and flatness of lines, but to learn how to make smooth transitions. Most emerging artists suffer from the fact that they simply do not know how to mix colors and smooth planes. And, of course, the use of a soft brush turns out to be the simplest and fastest solution, and this, in turn, leads to terrible results, which then lead to particularly psychological faint painters. Okay, the last one is a joke, but the fact remains. Therefore, before you start drawing, it is desirable or not even necessary, you must learn one simple, but insanely useful technique.
So, from this:
We get this:
Well, we’ll deal with the color later.
So, the most optimal and successful way to mix colors and create a smooth transition is to use a hard brush as it allows you to create a lot of transitions and maintain the “clarity” of the design, which gives it a vividness. The soft brush allows seemingly smoother transitions:
But such smoothness rarely benefits. It is successful for creating the total volume of the background, but no matter how you look, if you look closely, you can see that there is a feeling of blurring, and when this method is used in the picture, for example, your sister’s portrait, everything looks even worse.
You, of course, decide which option you like more and, ideally, you need to be able to use both, but you need to know when you can use a soft brush and when it’s better NOT to. In the meantime, we still know this badly – the best option is to listen to smart aunts and uncles, whom I shake like a ripe tree, and do what they say.
So, let’s proceed to our stretching.
In order to make such a simple stretching you need to arm yourself with a rigid round brush. Personally, I prefer for the basic brush to disable the pen’s response to pressure, which would determine the thickness of the line, but the reaction to transparency is the very thing. But this is an amateur. With the settings of Photoshop, I suppose everyone can make friends if he is not too lazy. And I will talk about something else.
1. So, take the black color and paint over half of our design with it. Well, or about the part that you think will be a … shadow.
2. Now we take and lower the Opacity and Flow parameters from the brush (they are located at the top of the menu) to about 40-50%. The lower the Opacity value – the more transparent our color will be and if we draw a line, then the bottom layer of color will also be visible through it. In fact, Opacity can be compared with the density of paint. The higher the value, the higher the hiding power. The Flow value determines the density of the “flow”. Roughly speaking, by combining these two parameters you can achieve different effects from the brush, without getting into its other settings. But back to our sheep.
So, with the chosen black color we half paint over the white color. And it must be done in one motion, without tearing the pen. If to tear off, the previous stroke will cover the already drawn one and mixing will occur where we do not need it. Now we take a pipette new resulting color and paint over it half black. As a result, we will have something like this:
3. Next, we reduce the diameter of the brush, well, I think, I understand why? And take the resulting color on the left (on white) and paint it half white, and then do the same with black. And we get something like this:
4. I think it is clear what we are doing next? We start going from left to right or from right to left (as it is more convenient for someone) and, taking color, paint over half the next. Then take the remaining piece of unfilled color and paint the next piece in half, etc. In general, we actually did something like stretching.
It is a curve in places, but I did it only for the example of technology.
5. Now we reduce the Opacity to 15-30% – it already depends on personal priorities, I, for example, use within 20% usually or more, if the pressure mode of the brush pen is working, and continue to do the same. Again and again. In general, this lesson is made exclusively for training. As a result, you yourself will figure out how you best create transitions. What kind of pressure to choose, how to impose colors. And all this will only help to understand. Right here and so you are unlikely to pervert, but sometimes this is needed.
As a result, we will have something like this:
As soon as you understand this simple task, I advise you in the future to try to translate Opacity and Flow to the touch of a pen. And learn to work that way. Firstly, it will at least reduce your time by constant distractions to changing parameters, and secondly, you will learn how to more subtly manipulate the pressure in the drawing process, which in itself is already cool!
Now let’s discuss color stretching. Here, everything is essentially the same. Here you can only stretch in two ways. More precisely not so. The method is the same, but the actions are slightly different and the result … different.
Option 1. Transition from one color to another, bypassing intermediate colors. This method is similar to b / w stretching one to one.
However, it is not very good for cases where the colors are far apart on the color wheel. And, as you can see, the color at the mixing site “falls” into gray, which sometimes is not very good for a picture and may later lead to “dirt”, but may be convenient for the background, where the colors should be less saturated than the front one. plan.
Option 2. Transition from one color to another through intermediate colors in the color wheel. Here the essence is the same, but we add the colors that are between our two main ones. I will not explain what a color wheel is and what an intermediate color means. Read the theory of color and you will find a lot of useful information. Over time, you will learn how to add several intermediate colors at once in the blending process. In essence, drawing is happening this way – by adding and mixing different colors. Discovered America, right? But now we will try to do it in a simple way so that you understand how it all works.
So, first we divide our drawing in half into Yellow and Purple. Then open the palette and take the color somewhere in the middle between these colors, and with Opacity 50% paint over half yellow and half purple. Voila and we get two intermediate colors.
Well, then already familiar by doing stretching.
And now the fun part! Open the palette and pipette along the entire stretch. First on the first, and then on the second. Really interesting? We follow the same range, but in the second case the colors are more saturated and vivid. And it’s great, right? By adding an intermediate color, we made our stretch more vibrant and it was not at all difficult.
Remember this and your drawings will immediately become more alive. This, of course, is difficult to implement immediately, but with time you will get the hang of it and everything will work out. The main thing to keep in mind when you draw.
One aspiring artist asked me to do a video stretching, as there were few simple steps for him. He first held a pen in his hands and never worked with Photoshop. I recorded a small video that shows how I made such stretch marks. It’s very simple, but such a pen training is actually very useful, especially when working with color. It would be great if, when performing, you would set Opacity and Flow to press the pen. By the way, in this case, you will not have to lower these parameters very low. This is seen in the video. I use Opacity 50% almost all the time.
Author: Melnichenko Antonina