Digital Painting: tips for beginners
Heyo! I got asked if I could make a tutorial on digital painting so Iām gonna throw together some advice meant for people who are starting out and want to figure out exactly how this stuff all works. Because itās hard! What I hope to accomplish here is to make painting more approachable for you.
Firstly, I have put together something like this before, so for archival purposes here it is:Ā http://holy-quinity.tumblr.com/post/89594801811/i-dont-know-how-much-of-this-kind-of-thing-you
For those of you who donāt wanna bother reading that, here are the main points:
1. Learn your program and its tools, from brush properties to layer styles. And I mean learn them. Make a cheatsheet that shows you exactly what each button and scale does, both in isolation and in conjunction with other buttons and scales. Refer to this as much as possible until it is intuitive. The end goal is to know exactly what to do to your brushās settings to achieve a given effect.
2. Itās perfectly okay to use your sketches, linearts, and other forms of line in your paintings. They can help guide the form and thereās no need to make something fullyĀ ālinelessā! I never make thingsĀ ālineless.ā
3. Study other peopleās art and try to think how they could have possibly achieved the effects they did. You can learn a lot just by observing and mentally recreating the process stroke by strokeāmuscle memory is a powerful tool at your disposal. This becomes easier to do once youāve started doing item 1 above.
So where the heck do you even begin?
What Iām gonna do is try to make digital painting as approachable as possible for someone whoās never really done it. The main idea here is that digital painting is just like real painting. So if youāve ever done real painting, you already kinda know whatās coming.
Iām gonna assume you know the basics of digital art: you can sketch, line those sketches using layers and opacity changes, and fill the lines with color, maybe even opting to add some shadingā¦and youāll get something like this:
You know, cell-shaded, or maybe the shadingās blended, but youāve still obviously a line drawing with color put down on layers beneathĀ the lines.
The next intuitive step is to try going ālinelessāā¦but when you remove the lines you get this:
idk about you but Iām laughing at how stupid this looks
When I was first teaching myself to paint digitally, I didnāt really know how to deal with this. Without lines, the form of the subject vanished or became a mess like the above. Even if I was meticulous and careful about placing down the color such that without the lines layer turned on, the shapes fit together, it didnāt look quite right. Thereād be gaps, I wouldnāt know how to incorporate the subject into a background, the contrast wouldnāt be high enough, or itād just in general look too much like a screenshot from Super Mario 64.
Painting requires a different process than the above. Youāll have to let go of some of your habits and conventions. Such as staying in the lines. Such as fully relying on the lines. Like, I love my lines, I love my sketchesābut in painting, they are guides for form, and are not the form itself. So let me go through how I approach a given painting:
My painting process starts with a sketch (here a boring portrait for demonstrative purposes). I make the opacity of the sketch layer something like 30%, and then throw down my base colors on a new layer underneath. Iām not being meticulous about the sketch itself, because again itās just meant to guide my placement of color. Iām also not meticulous about my placement of the color.
Weāre essentially sketching with color.Ā Because ultimately what we want is for the colorĀ to take on the form and shapes conveyed by the sketch.
Thereās a lot going into this about how to use value, how to shade, how to use color, etc. that Iām kinda skipping over because it takes a lot of time to explainā¦but there are hundreds of tutorials out there on those topics so please, google around! I found some helpful tuts that way when I was starting out.
Something I find v useful is to keep selecting colors that already exist in your image for shading and hue adjustment. This is why I start with really blendy, low-opacity brushes when throwing down color on top of the background. I can then select colors within there that are a mix of the two.
For instance, Iāll select the color of the lines here:
ā¦and use that to shade:
And maybe Iāll select one of the darker shades around his eye, but not the darkest, to make the shading a smoother gradientā¦and so on.
What I do in general at this point is go over the shapes and lines of the sketch. Such that I can turn off the sketch layer and see this:
Iām replacing the lines with shading and value. Iāll continue to do this as I keep adding color.
This is all super loose. I am not dedicated to any particular stroke. I just want the colors and shading and light source to be right. Iāll use overlay layers to boost contrast or add a hue.
Here are other examples where I used this process:
I am constantlyĀ changing brushes and brush settings as I paint. It really depends on what effect I want where. I am also constantlyĀ selecting new colors and applying or blending those in. I donāt believe in having some uniformly applied base color and then shading with only one or twoā¦thatās what Iād do if I was cell-shading like the first drawing I showed you here, but painting should be about messing with color and opacity and blending to make millions of hues!
Good rule of thumb: Hard, opaque brushes for applying color. Soft, dilute brushes for blending colors. Sometimes hard, dilute brushes can make some cool blending effects! I personally prefer harder edges on my shading so thatās a brush I use often.
This is getting a bit long so Iām gonna split it up into multiple parts, but really what I want you to get from this is:
1. learn the tools at your disposal until they are intuitive
2. sketch and line are guides for form, not the form itself
3. rather, hue and value will produce the form
And of course, practice makes perfect!!! Every drawing you make, every painting you make, will bring you one step closer to the artist you want to be, and thus every drawing and every painting, no matter what, is a success.
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