We draw a witch in Photoshop – Part II

In this lesson, we will continue to draw the Witch from the fairy tale “Snow White and the Seven Dwarfs” in Photoshop. Let’s get started.

Final result

Source materials:

Texture 1
Set of brushes

First part of the lesson


The background is a bit boring, although the whole idea of ​​the composition is to “keep it simple” (with the exception of wrinkles and ugly details that add expression to the witch), so landscape is not an option. In this case, the texture will be appropriate. Open the image “Texture 1”.

Highlight texture go Selection – All (SELECT – ALL (Ctrl + A), copy the created selection (Ctrl + C), close the document with the texture and go to our working document with the witch, press the keys (Ctrl + V) to paste the copied texture image. The result should be as in the screenshot below.

In the layers palette, go to the texture layer, then add to the texture layer Vector mask (ADD VECTOR MASK).

A layer mask will appear on the right, which will already be active.

Next, paint on the layer mask with a black brush in the image area of ​​the witch, try to be more careful at the edges (there is no difference which brush you use, to some extent, this is a question of accuracy) to hide the texture over the area of ​​the witch. The layer mask should look like the screenshot below.

The result should be as in the screenshot below.


Now you need to strengthen the edges of the cape, because the background has become darker due to the texture. As a first step to enhance the visual contrast with the textural background, we need a color shade of the background, which we previously used. For this, using the tool Pipette (eyedropper tool), select the background color (at the same time, temporarily turn off the visibility of the texture layer so that it is easier to apply the pipette). In the next step, the screenshot on the left should look like the screenshot on the right.

The red lines are our working outlines, which we have to recreate in this step, but do not forget, the lines are marked in red so that you can clearly see where you have to work, and you have to use the background color. The blue arrows are a visual direction that you must follow.

The result should be as in the screenshot below.

Again, using the tool Pipette (eyedropper), take samples of gray tint from the chest area (try to select the lightest shade), and now, repeating the approximate direction of the arrows from the previous step, draw additional folds, in the frontal area, try to keep the shape of the folds in accordance with the shape of the cape and alternate gray folds with brown folds (shades of the background) to keep the shape of the volume.

Next, we will add a simple side light, for this, in the color picker, choose a dark reddish orange (see the color picker in the screenshot) and walk more intensively along the border of the witch’s contour and the top border of the cape contour, observing the direction of the arrows in the screenshot below.

Work more on the folds.

The cape in the shoulder area is generally without any details, so that the cape on the shoulders looks more natural, we need to reproduce the texture pattern of the folds in the hood of the cape, for this, start painting with a basic brown shade over the black area (1º), brown hue is the hue of the background, which we used earlier. Try to continue the folds of the hood in the shoulder area.

Next, using the gray tint we used earlier, draw the folds on the front, as we drew the folds on the top of the hood (2º). Finally, go through the profile of the witch’s figure using a dark orange shade (3º). At the same time when drawing the profile of the figure, I modified the shoulder, slightly curving it.

The same here, paint over the empty brown area on the right side of the shoulder with a brown tint of the background.

Next, with the tool Pipette (eyedropper), take samples of a light shade of gray from the chest area, if you need to select a sample again, but then go to the tab Colour (COLOR) (image in the upper right corner of the screenshot) and move the K scale slider slightly to the left.

What I did, I reduced the value to 60%. The bottom line is to get a more accurate version of gray, to apply it on the shoulder using a third light source.

So, repeat the action you performed earlier, paint over the right shoulder in accordance with the direction of the arrows.

STEP sixteen

Choosing a light shade of skin, which we used all the time, we again return to the hand. Usually, when you draw a hand, you choose a certain type of hand, and after a while, you don’t like this hand and you start to draw the other hand, maybe redrawing it many times, drawing your hands is always like a battle.

I drew a couple of sketches of hands on top of the previous outline and I liked this position the most. A good hint – repeat the movement of the brush in the direction of the red arrows; use brush 1 for this, the best choice for creating sketches.

Create the outlines of fingers, nails and wrinkles on your hands, using the darkened skin tone that we used before (you know, our friend Pipette will help us). If you don’t know how to draw, well, then you can search for finger images on stock resources using the Internet (Remember, don’t use an image to paste it into your work, just use it as a visual guide, and you have to draw your fingers ), as a hint, you can use a mirror next to you.

Start to give volume, try to do it with unused shades, this will increase the depth of perception of the “angle”. I changed the size of the apple and its perspective; The apple is a very important element here, therefore, it must be larger than it was. Start by applying light highlights.

Also modify the edges and boundaries of everything that is here and related to the second focal point (the first focal point is the eyes). You need to add sharpness to objects in the foreground, both hands and apples.

1º – Be careful with the wrinkles on the joints of the fingers, the wrinkles should be close to each other. 2º – Draw the depressions in barely black, for example, at the points where the apple touches the arm. 3º – Add light highlights to enhance realism in the foreground.

Paint with a soft gray brush at the bottom of your hand to slightly dampen the contrast. And also add a little “live” color to the joints of the fingers and nails, you can use any blend mode, it is up to you. I chose a light shade and used blending mode Normal (normal), just gently brush over it.

To make nails look more aggressive and more frightening, they need to be bigger, therefore, pull the shape of the nails, just with a brush, enlarge the previously created nail shape. Sharpen your nails a little bit so that they look supernatural.

The wrinkles on the fingers are very important when making witch hands. Add a few small wrinkles of a reddish color. And also correct the straight contour on the fingers, paint the fingers so that they look bony, more like the fingers of the “old woman”.

The upper part of the apple should reflect the light coming from the witch’s face. To do this, select a light shade of gray, which we used earlier when creating light highlights or brighter and paint the upper borders of the apple. As you can see, I once again changed the perspective of the apple so that it was obvious what kind of object was in the hands of the witch.

What color was an apple in a fairy tale? Do you remember? Red? Green? Yellow? Choose a color of your choice (however, red represents more “passion / blood”, while green represents more “poison”). Draw an apple, as in the screenshot below, while using a soft transition of tones.

1º – Do not forget to draw light highlights on the apple. Just put a white dot. 2º – Reflect the right light source (light gray shade) on the fingers, the same as we did on the shoulder.


Add wrinkles to the forehead to make the image look more natural, draw wrinkles using the same technique you used earlier, but this time, the wrinkles should be much closer to each other, the movement of your hand should look like “right, left , right, left … “with a small curve at the beginning of each line.

Draw a few asymmetrical individual hairs, starting from the center of the forehead. Hey, did you notice that a lower tooth appeared ?!


Choose a tool Pipette (eyedropper tool), take a mid-tones gray sample from the chest area and set it as the foreground color, and as the background color, select the light gray tint we used to create the reflection of light on the shoulder to the right of the third light source Next, select the tool Pencil (pencil), set the brush “2”, so paint the cape in the chest area using the gray color of medium tones, and with a light shade of gray, add more volume in the center of the folds below the jaw.

The cape / hood looks too symmetrical, we will fix this, we will paint over the cape so that it hangs down. Just follow the instructions described in Step 15, besides this, creating the direction of the cape in accordance with the direction of the red arrows to the right of the hand.

STEP nineteen

Set the white color as the foreground color, select the texture brush (2) using the tool Brush (BRUSH TOOL), then draw a white “aura” carefully, as shown in the screenshot below.

Change the blending mode for this layer to Overlap (OVERLAY), the result should be as in the screenshot below.

In the layers palette (f7), make sure that the layer is active, then press the button Add layer mask (ADD LAYER MASK)

Switch to the layer mask, and using the classic soft brush of black color, paint over the silhouette of the witch. When you paint with a black brush, you will not see black strokes, what you see is that the painted white area on the layer mask will disappear. The stained area should be approximately similar to the red area, as in the screenshot. The screenshot below is just a preview.

The layer mask should look like this.

The result should look like in the screenshot below (except for the red line and arrows). You should see the glow in the arrows, but not inside the line where the witch’s face is.


In this step, I slightly increased the contrast between the chest area and the hair, I walked a little with a soft black brush around the edges of the hair and walked a little with a light gray brush over the chest area, adding more light to it.

Here I added a bit of contrast to the nose and some white spots to imitate old skin.


Previously, we used the orange light coming from the left, which was falling on the hood, now we need to apply this light effect to the face and hair. Choose the orange color that we used earlier and try to visualize the face in volume by painting the face area with an orange tinge where the side light could fall.

Do the same with the hand and the apple.


Select a texture brush (2), with careful use, the texture brush looks like a standard brush, but a little with noise and non-standard, making some areas more saturated. Using this black brush, paint over the areas indicated in red, the space between the lower part of the hair, the face and the neck. Next, using a very small white brush, apply a lot of white dots in the area indicated in blue, this will add more volume and add texture.

The result should be as in the screenshot below.

STEP 23 – Apple

Create a new layer, change the mode for this layer to Soft light (SOFT LIGHT), select a round brush of 1 very small size, the colors we will use are white and black. We are going to draw small dots on the peel of an apple.

First, set the settings for a pencil, a very very small brush with high rigidity, then put a small dot, then increase the brush size and very carefully put a dot on top of the previous dot, creating a small “aura” for the dot. Randomly put a few dots in black, then a few dots in white. Also, using black color, draw a small tail near the apple.

Using a light orange shade, very carefully paint over the points we drew earlier, so that the apple becomes much more alive. To do this, use a texture brush (2) or a standard brush.

To maintain the same level of volume, I worked a little on my hand, I increased the reflection of orange light, added dark middle tones in the lower part of the apple and added some white light highlights on the wrinkles of the fingers.


Choose light shades of gray and draw a few strokes in the chest, a few strokes in random order and a few strokes, which would repeat the direction of the folds on the cape.

In the same way, gently add more villi on the right side of the cape, in the frontal part, use medium shades of gray, and in the side sections, use light shades of gray. Also, draw a few holes, using dark gray shades closer to the black shade and then on top of the holes, add hanging villi using a light gray shade.

Now, on the left side, use the light orange hues, repeat the direction of the arrows.

Add even more villi on both sides, trying to emphasize the volume. Blue arrows to use a light orange shade, and red arrows to use mid-tones of gray and shades of light gray.

Before and after


Next, we will draw some trees. Select the pencil tool, set the brush 1, go to the bookmark Brush (brush (f5) and select only the option Form Dynamics (SHAPE DYNAMICS) in order to be able to draw tree branches from a thin branch to a fat bitch.

The branches should look like the screenshot below.

Start drawing a curved line, thin at the top and thick at the base, the movement should be from top to bottom and from the center to the edges of the document. The lines should be diverse, try not to repeat as much as possible.

These curved lines will be the basis for new small branches.

Draw new branches, just as we created the first branch, connect them.

Add more twigs until you are satisfied with the result.

Repeat the process on the left and right side of the image until it looks like a “illustration” of the silhouette of trees.


Choose a tool Brush (brush tool (B), set brush 4 from the set, this is a special brush to paint the fern.

If you press gently and gently push, using one stroke, then you can do it as in the screenshot below.

Try to apply the brush several times on the sides of the image, but certainly not in white.

The result should be as in the screenshot below.


So, our background is hardly perceived as a “sky”, but our imagination is a magical tool and all that is needed is only a reference image, as a bird, for example, to transform the texture for a landscape, so we will draw a couple of bats. In this step, accuracy and naturalness are not obligatory, in principle, you can, simply, sketch a sketch and it will work.

So I created my bat, using a pencil, I drew a pair of bats using red lines, imagining with the shapes of bats that I like.


Since I used a pencil, the edges turned out a bit rough, so you can use the tool Fill (bucket tool (G) to get flat figures of our bats.


If your bats are drawn on separate layers, then create a duplicate for each of the layers, go to the menu Layers (LAYERS) and select the option Duplicate layer (DUPLICATE LAYER) and duplicate the image several times, and then apply to the layers with mice Free transformation (FREE TRANSFORM), Ctrl + T to zoom, rotate the image and the deformation so that they look different and different in their location.

The result should be as in the screenshot below.

STEP thirty

Select a texture brush (at the end of this step, apply Gaussian blur (Gaussian blur) or a standard soft black brush; then, very gently paint the upper edges of the image, as shown in the screenshot below, to give a little depth and strengthen the main focal point.

Final result

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