Learn simple how to steps to paint your character drawings on Photoshop.

The Steps for Painting A Caricature

The last video/blog I did, showed you how to “Paint A Line On Computer”, using a caricature drawing of myself. This video/blog reveals how painting a caricature, comic or cartoon with that line on top of it can be done.

• Import Drawing

  First, do a line drawing or import the drawing you want for character painting.
  Follow the steps in the video/blog mentioned above for painting the line. Make sure the line is its own layer.

• Duplicate Drawing

  I begin by duplicating my line. Command (Mac) or Control (PC) J. This gives a line layer above (for finished covering), with one below (a painting guide).

• Create A New Layer

  Click on the copy symbol at the bottom right corner of Photoshop to create a new layer. You will paint on this new layer between the lines.

Start with Flat Colors

• Flat Color

• When painting a caricature begin with a flat basic color for every section. I did this on my face, my shirt, my glasses etc.
• Of course I clean up should I go outside the line. I then make adjustments in the tone of my color as I go.

• When I start painting my shirt, as a way to speed painting it, I put a marquee around the line which helps me isolate the shirt off and allow me to go through it quicker. The marquee prevents me from painting directly on the line therefore I’ll need to go back and paint in missed areas under the line.
• I do the same for my glasses and my eyes. Then clean up underneath the marquee line there as well.

• When I finish cleaning up, I work on some hair textures that I drew in. I paint in a solid color for the hair. Then do a transparency percentage which will allow hair texture to show through from the layer beneath it.
• I isolate my eye color with the marquee tool in order to make an adjustment, using the hue saturation color slider.

• I do the same thing on my lips making an adjustment using hue saturation. Then clean up afterwards.
• I repeat the same procedure to give a shadow under my nose using only flat color for the time being.

• Now I add flat color in the shadow areas of my shirt.

Dimensional Rending

From here I start doing dimensional rending with an airbrush approach when painting a caricature.

•  Determine Light Direction

• I decided to have light coming from the left going toward the right which will cast a shadow on the right side of everything. It’s always important to know direction your light is coming from.
• The fun of painting with computer is that as I paint in some light areas, I shift them if they are not exactly in the shape or place I wanted them to be. Using the move or the warp tool helps with that. I brighten the area up some with adjustment sliders or color shifts on my shirt if it needs. I decided to cool down the shirt color a bit adding a slight blue touch.

• Then clean up my glasses and give a shadow side to it.
• For my face shadowing I created a darker “Layer Adjustment Mask”, then erase out unwanted areas. I shift the colors a little bit and brighten it up so it has a strong sense of light and shadow.

• I do a “Layers Mask” for my hair and I brighten it up and erase out the unwanted so it looks like light is hitting my hair, and there’s a shadow side.
• I decided to give more shadowing under my nose. Now I’ll work on my lips to give a light and shadow side to that as well with a shift in color.

• Then I’ll have the few spots to clean up, a few mistakes I haven’t seen before, shifting my face color some.
• This is where I paint in the nostrils. I’ll add a little more detail to my lips. Bring out some highlights. It’s amazing to me how highlights add more dimensionality.
• Now I give a light area to my beard and mustache. First, marquee it off, then paint in light spots.
• I will give highlights to my glasses making the line straight across and using the “Warp Tool” to put it in place. Marquee it off to make it easier to paint in other highlights.

One of the things I like doing is giving reflective light because it gives more dimensionality and extra color interest.

• In this case I’m using cooler reflective light because my face is overall warm so it make for a good visual balance when painting a caricature.

• My glasses needed a darker area on the arm to push back one portion of it.
• Now I’m working on my eyes, I’ll give myself a pupil, erase some of that out. I’ll put some Shadowing on my iris trying to give it some dimensions. Then give some shadow to the white part of the eyes then clean them up. Now I’m giving myself a lip to the lower eyelid giving dimensionality. Putting some highlights to the eye. Checking things that I may need to clean up. Darken the upper eyelids a little more.

• Put a shadowing on my wrinkle lines, not too heavy, and then a light side to my wrinkles. Soften some of that edge a little bit.
• Putting a little more shadow under my nose for dimensionality as well as on my lips. Some shadow on my glasses. Adding a little more shadow to my nose to feel more anchor to my face.
• I painted a background card for the finished look. Below is the completed character.

Hope that was helpful! Give it a try, and let me know how it turns out!

You may find “Painting with Photoshop On Computer” and “How To Paint Digitally With Photoshop” helpful with related details to this blog/video.

One of my favorite tools in Photoshop allows me to paint within a line or constrained area with great ease. This is helpful for me because my hand has a natural tremor to it making it challenging to keep within the space I want. This tool gives much aid to that problem.

The Marquee Tool

You’ve heard me in the past talk about a “Marquee Tool”. That’s a broken line you can create in various shapes or freehand that constrains or isolate your artistic working space also. In this case I use the square “Marquee Tool”as shown below. You can also check out “Painting With Photoshop On Computer” or “How to Paint Digitally With Photoshop”. These give examples of using a Marquee Tool.

Even though I move outside the line nothing happens except when the brush goes within the isolated square area. And that’s where the painting start. That’s quite useful when you want to stay within a given area. But this post is more about the “Lock Tool”.

The Line or Image Lock Tool

There’s another tool that basically locks the artwork or image and allow you to stay within a line or confines of the image you’re working with. To give an example of this, I’ll use a caricature drawing I did of myself using Photoshop.

The Simple Steps

• The Layer

  Click on the image layer with the line work or image you want to paint. I want to color only within a line or lines itself. Nothing outside of the line or shape.

  

• The Tool to Paint Within A Line

  Then click on the lock tool as shown below. You’ll see the lock icon appear to the right on the same layer. This allows me to paint color into the line and only the line or shape. A wonderful photoshop tool Adobe thought of for the software.

  

• Then Paint

   

  Now just start painting in the color or colors you desire for the image. Below you see I used different colors in different areas, such as the shirt, glasses, skin and hair colors.

  

It means being more careful as lines intersect to keep the specific color where you want it to be.

You can also Marquee off the portions of the lines where you want certain colors to be confined as well which would speed up the approach.

Image Lock

The same application can be applied to an image as well allowing you to paint within that image, but not outside of it. Below is a painted example of the black image being locked, then doing whatever your artistic expression desires within it. You can also use any of the adjustment tools for changing values, colors, Exposure, contrast parameters, etc. you may like.

How do you like the colors within the lines of my Title Art?

Simple! Give it a try. Next time I’ll paint in my caricature.

Digital painting make changes easier and faster without altering the original artwork.

 In this post I’ll give you detailed information to painting advantages using photoshop.Traditional changes may take longer and be quite extensive depending on what those adjustments are. This is part II of “The Advantage of Digital vs Traditional Painting”.

The Main Steps Involved

If using a traditional painting, preserving the original requires taking a good quality high resolution digital photo of the image for adjustments on Photoshop. If it’s a digital painting, it’s ready to go. Looking at our painting advantages.

• Separate layers

  It’s best to paint items on their own layer if digitally done. If working with photoed images, duplicate and separate items to their individual layer. These painting advantages allow adjustments without affecting items you may not want affected.I begin by resizing my background glow which was larger than I needed. I do this three times in my video demo till I’m satisfied with the look.

• Duplication and Resize

  I duplicate by hitting “command (Mac) or ctrl (pc) J” and then I hit “command or ctrl T” to transform or resize it. Pulling the side or corner lines.

• Paint In or Erase Out

  Once resized, paint over or erase out area to match the existing surrounding color you want. The point of interest in this painting is the candle. I started this painting without a drawing, free forming it as I went, therefore I notice drawing accuracy issues.

The Technical Applications 

• Transforming or Adjusting Shapes

  The candle adjustment started by typing “L” for lasso tool to isolate off the top part of it. Then type “V” for move tool. I used the right pointing arrow key to shift it over a little because it was slightly off center to the stalk of the candle then I cleaned up the edge where the shift happened. There’s a void mark that’s left when you shift items in this manner.

  In the same way as was done for the top of the candle, the bottom of the candleholder is done. Isolate area typing “L” for lasso tool, type “command or ctrl J” to duplicate that image, then hit “command or control T” to transform or stretch the image to whatever size or shape wanted. After that, erase unwanted areas of the top image (duplicate) to allow areas of the bottom image (original) to show through that you want to keep.

  

• The same is done for the stalk and handle of the candleholder as with the base. Isolate, duplicate, transform it, erase unwanted areas allowing wanted area of the bottom to show through fitting it to the original candle with one difference. For the handle transform I used “Edit”, “Transform”, “Distort”. Distort allows for odd shape resizing.
• I used “command or ctrl T” to transform the shape of the shadow under the candleholder for more oval accuracy, then I changed the Opacity of that layer to make it a little lighter to fit. I intentionally painted it darker because I wanted to make the opacity adjustment, than I made painting adjustments into it.

• Other Transform Options

  Realizing that the bottom portion of the candle holder was crooked. I marquee it off, isolate it, duplicate, then clicked “Edit”, “Transform”, “Skew” to shift it up to straighten it out. Once straighten, I erased unwanted portions on the right side of it.

  

  To get it symmetrical, I duplicate again, click “Edit”, “Transform”, “Flip Horizontally”, erase off the unwanted areas. I paint back into it my shadow side colors and this gives me more accuracy in my drawing. I repeat the same process again on the base of the candle holder – duplicate it, then repeat “Edit”, “Transform” and then “Flip Horizontally”. I make painting adjustments for it to fit the base of the candle.

  

  Making an adjustment on the smoke stream design, I first adjusted the transparency or Opacity for that layer, then shifted the design by going to “Edit”, “Transform”, “Perspective”. Tilted out the top end to the shape I wanted then soften it with a Gaussian Blur.

  

  I repeat the process with a second smoke stream design. I painted it in at full opacity over the candle, then simply lessen that Opacity. Did the Gaussian Blur again, then transform  the shape using “Edit”, “Transform”, and this time “Warp”. Rather than having it directly over the candle I warped it to go below it for a better design.

These painting advantages have no match in traditional painting.

• Soften Areas

  Wanted to soften some of the paint modeling in the background. So I duplicate the background, clicked on “Filter”, “Blur”, “Gaussian Blur” to soften it to the degree that I desired, then erase out some of the areas that I wanted the original background to show through so everything was not completely soft.

  

• Color or Value Shifts

  I decided for a cooler color to my background. There are two ways of doing this. Either making a Layer Mask or duplicating the background. Click on “Image”, “Adjustment”, “Selective Color”. In the color bar, I click the “Down Arrow”, I chose “Neutral” and that’s for an overall color change. I also choose “Hue Saturation” because different parameters do different things to the color. I shifted the colors to what worked for me then erased out areas I did not want, left some of the cooler colors, then introduced additional colors into it.

  

• Layer Mask Adjustments

  

  Changed the values of my background by using a “Levels” mask. That allows me to change how light, dark, or pale, I want something to be. Then I erase out areas not wanted and leave the amount desired in my background.

  The “Levels” mask was used for the candle as well. The candle was isolated or marquee off, darkened, erase area not wanted. This create a shadow on the left and right side of the candle which will help with roundness. Also used to brighten the area around where the glow hits the floor. Then erase out what I didn’t want.

  For the candleholder, a “Selective Color”, “Neutral”, layer mask was used to brighten the color then erase off areas I didn’t want to utilized. Also used to shift the color of the shadow under the candleholder adding purplish hues.

  Decide I want a slightly darker soft edge to separate the surface that the candle is sitting on from the surrounding darkness behind it. To do that I used a Layer Mask and darken it then erase off what I didn’t want. Adjusted the opacity or transparency level so it would be very subtle.

For a final adjustment I marquee off the candle for the entire layer by holding down “command or ctrl” while clicking the “level image” itself which gives me the complete marquee for the entire item on the layer, then I create a layer mask which allows me to lighten or darken and then I erase out specific things I don’t want.

These are some of the quick fixes that can be done using the painting advantages of digital that cannot be done traditionally.

You may find these post helpful as well: “How To Paint Digitally With Photoshop”, and “Painting With Photoshop on Computer”.

Hope you gained some insights. Give it a try!

Learn how to paint digitally, adding to your Photoshop skills which will expand your creative expressions.

Beginning Steps To Paint Digitally On Computer

Sometimes people think that when you paint digitally on computer all you do is push a button and the computer does the painting. Not so. It’s the artist that’s doing the painting. The only difference is the artist is using the computer brushes and color as opposed to regular paint and brushes. Come along and I’ll show you the process of how we actually paint digitally on computer. Hope it’s something you can actually learn from.

• Import Drawing:

  I start with a digital drawing I did on my computer. Or you can use an imported file of a drawing you have.

  

• Duplicate Drawing:

  I duplicate my drawing using command (Mac) or Control (PC) J to duplicate another layer of the drawing. 

• Make Transparent Layer:

  Then hit multiply to see through that layer. This keeps the line on top of the painting at all time to see what you’re painting.

• Create A New Layer:

I create a new layer (click on copy symbol at bottom right corner) underneath the line layer. Here I paint digitally under that line layer. Starting with my background. Each added object gets it’s own separate layer. This make it easier for corrections or adjustments without affecting the other elements.

When I start painting the bear on computer I used a textured brush called Dry Brush on Towel. That gives me a furry look. 

Building The Structure of Your Image

• Determine Light Direction:

  Determine which direction your light will come from.

• Paint Lights and Shadows:

  Paint in his basic color then some shadow colors. It’s a little brighter than what I want so I toned it down.

  

(While on the layer click Image, Adjustments, Then any parameter you desire to make a change with).

I’m giving light to the top areas as if the light is coming from above right side. I’m filling it in to give dimensionally to my basic structure and I’ll fill in additional spots as I go.

I turn off my top line periodically to check how well the structure of my drawing is coming along. Then turn it on again.

I put in the sweater color quickly. Then go back and erase some of the color that’s outside the line. If you remember one of my previous video/blog (Artist Technique for Painting a Tree) on simple painting steps of 1,2,3 – dark, lights, and medium tones. I’m painting with this idea in mind, as I add in my lighter tones on the sweater.

• Making Adjustments:

  I’m going to tone the sweater down, using a Layer Mask to darken it then I’ll erase out some of the darks so the lights will come through.

A Layer Mask or Adjustment Layer allows you to make a layer to change the artwork without affecting the original art underneath. Such as complete color or effect changes, even erasing things out while the original remains in tack. You can affect the entire work or isolate out an area with a marquee or protective line around it (Painting With Photoshop On Computer). Then create the mask. Here are the steps.

If you choose the entire layer, click on the layer art image while pressing command (Mac) or Control (PC) to put a marquee or protective line around to image. (Short Cut)

     Or,  while on the layer you want, click on Select, Load Selection, then OK.

Then choose from Adjustment layer you want. Hover over then to see what they are then click the one you want.

Layer will appear and the window to make changes. Use them to adjust what you want.

I will give more color to my shadow areas. Darker in the dark areas on the sweater. Has a bit of violet touches to it and then I’ll darken it even more and erase some of the mid tones. (Please watch the video for visual clarity).

Adding The Details

Now I’m building some of the features, the nose, the eyes, putting in a little more detail as I go. On the video you’ll see me going in tight and out of the painting some times. I need to push it back to see how it comes together when its too close. Then I pull it back in to see more of the details. If it was an actual painting outside of the computer, I would be stepping back from the painting. 

I’m putting a Marquee around the feet and ears to lighten them up more. Then add line details.

The line drawing is there as my foundation to build the bear painting. I need to paint line detail on the bear to allow it to stand alone when the top line is removed.

I build form, giving value, texture, and other details to the bear giving dimensionally with light, middle tones, and shadows. This applies when you paint digitally on computer or painting on real canvas.

I paint a little in different areas to help build more of the form overall as I go.  Painting some areas a little lighter, some areas a little darker. I’m building the eyes now. Painting in some eye color.

I decided to brightening up the eyes more with an adjustment window. Because they are on their own layer I can adjust the color from a window and not use the Layer Mask if I’m not concern about preserving an original color.

If you refer to my blog (Painting With Photoshop On Computer) I’ll explain about finding the brushes window, where to pick colors and a few other Photoshop basics for painting.

Giving Final Touches

• Add Accents and Enhancement Spots:

  Here I’m putting in reflective light just to give more color emphasis and now I’m coming in and trying to give more texturing to make it have a sweater effect, without putting every line. I’m just putting in light hitting is as opposed to the shadows to give it that sweater feel.

  

I darken a few lines here and there to help accentuate form better. Now I’m giving more textures to the bear. I want him to feel more hairy but not overly so. Trying to simulate a look without giving every single detail. This will give him more of a “toy bear” texture. Bringing a little more light in areas.

This is me doing the painting on computer. It requires my artistic eye to know where to give more detail without giving too much detail. So here’s the final.

Now it’s your turn. Fire up the computer, open Photoshop and give it your test run. Just play a little and make it fun!

As the animation industry was moving to computer, Photoshop was becoming the software to paint with for background painting. Before the transition from traditional painting to computer was fully in swing, I give myself 30 minutes before my normal start work time and 30 minutes after work hours to learn how to paint digitally on computer. It didn’t take very long to get in the flow of it so long as I was consistent in my effort. So lets  do this.

I Hope this was a learning experience for you.