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Sorry about that, yeah.

So part one we did this one very kind of like painterly organic, now I want to
do something

a bit more graphic, hard-edged, different subject matter.

So I'll save these layers.

So this one, yeah, we're going to start, I usually start in a similar, a similar
way.

Let's grab this exact, we've got the right scale here.

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I'll do the clipping mask again.

And yeah, I just want to mention, if you want more information on values,
creating compositions,

kind of the basics of Photoshop, getting started, if you're more of a beginner
jumping into

Photoshop, then I highly recommend taking this course.

Or if you want to brush up on values, learn how to simplify things a bit better,
kind

of the thoughts behind two values and three values and stuff like that, then
check out

this class.

But if you're already doing good with that, then, you know, keep going.

But yeah, let's take this.

I like this one because the light is so, so graphic.

Um, so this will be my light value, this will be my dark.

You know, this is like a very obvious, like, one-point perspective.

Doing perspective, I don't always plot everything out exactly.

I tend to represent the perspective with the objects that I'm painting.

So in this case, these lines in the ground, the buildings going back, the train,
those

are representing my perspective.

A little bit of this reflection, and I think that's important just to represent
some people

And I'm not being like super, super, 100% accurate with everything because this
is just

to capture the general composition, the general feeling that I'm going for.

And then when we get into color, we'll take this the rest of the way.

And I think that's important when we're doing this value stuff because we don't
have to...

I think it's better to not fully figure everything out.

Like I don't want to go in here and get like tons of value variations and figure
out every

little detail.

Because then I found that I always end up like repainting a lot when I get into
color.

And one thing I hate...

with photoshop is

doing like a lot of these like color like layer things. I'll use some once in a
while

to get help me get some effects or just play around. But I found that when you
like colorize

things and stuff like that it feels very digital. And it's always been my goal
to

make things not super digital because that's... it's just not very appealing to
me.

Let me get the scale of these people in here.

you

Very interesting how abstract it gets up here.

Trying to capture some of that.

Also, take a section of this, select it, store it.

that perspective a bit more.

Oh, and by the way, I know I did that kind of fast.

I have on my tablet here, I've got my lasso as a hotkey, so I can just hit that
quickly

and then I can lasso things.

And then if you hit like shift and alt, you can get a straight line lasso.

And then if you let go and then you hit alt again, you can subtract.

I got familiar with using the lasso stuff when I was on Spider-Verse because it
was a very

graphic, hard-edged movie.

So it took me a bit of time to get the hang of the hotkeys and using shift, alt,
command.

But play around with it and if you enjoy using the lasso, I get some hard edges
now and then.

It's worth trying.

I think it's worth spending the time to kind of like figure that out.

Oh, and then when I transform, if you hit ctrl, then it gives you like scale,
rotate,

skew, I use distort and warp a lot.

I'm just looking at this, seeing if there's anything else I want to define in
this value

stage.

This little highlight on the ground here, it's kind of nice, like how the train
is bending,

you know, it's going around a little bit of a turn here, it's capturing a bit of
that

Bye-bye.

Oh, yeah, I think that's it.

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Or value.

Yeah, let's, let's leave it at that.

Um, okay, so now let's figure out how to go from value to color.

Okay, so now let's figure out how to go from value to color.

I'll duplicate this so I've got it and then figure out a good base color for us
to work

off of.

There's a lot of these yellow, orange, this sunlight is creating some kind of
warm bouncing

through this scene.

So, create kind of like a warm man hue.

I'll just push the saturation of this.

Okay, and then I've got black and white, I've got this kind of like an
underpainting, and

now the next step, let's...

I'm going to use, this is something I do quite often, I'm going to use this
brush here.

It's basically a square with color dynamics, so you can push and get more hues
in there,

more saturation, brightness, jitter, you can play around with all that, see how
much craziness

you want.

Yeah, I'm going to...

Use that and then I'll change this layer to soft light.

And you can see what happens.

It kind of gives me some texture, some hue variation that I can play off of.

And this is purely to just get rid of the gray canvas, give me an underpainting,
something

to then start to build up these colors with.

Play around, maybe I'll use more grays down here, more yellows.

I'm not trying to paint the whole thing, I'm just trying to get some colors
bouncing around

that I can then play with, so it's, there's nothing worse than trying to paint
on a gray

Well let's let's start with that. Okay so now we've got an underpainting going.

then we'll make a new layer. Actually, let's just duplicate this layer. We'll go

back to the grayscale and I'm going to use this square or this rectangle

brush. This is a brush I use a lot with the spider-verse, color keys, stuff like

that because I can get a lot of hard edges and it gives me some like hue

variation. It's pretty subtle, but if you look, I get some subtle hue variation
so

then when I'm painting I can go in there and then yeah like okay this is kind of

feeling right. I'll mix a bit of this. It helps things. I feel like it's the

perfect brush for like graphic and painterly.

When I'm painting, I generally go warm to cool.

I start off with kind of a warm underpainting most of the time and then I paint
cooler as

I go.

The thought process behind that is if you start, generally the way I like to
think about

is objects, everything, the local colors of everything is going to be a bit
warmer than

you think.

If you start in a warmer place, then the more time light bounces around and hits
things,

reflects off things, it's losing saturation, it's losing intensity.

So it would make sense that...

You start in a warm place, and then when you're adding light, you're adding
those effects of light bouncing around a lot, hitting objects.

It's going to be a little bit cooler.

And you'll see as I'm painting this.

I've also got all my grays selected.

I'm going to hide that selection, Command-H.

So right now this is pretty saturated, this is more gray, but I want to be in
that more

saturated zone to start.

you

It's pretty messy and interleaved.

As I'm doing this, I'm squinting my eyes trying to match the values.

I love how abstract and crazy this gets in the glass.

As I'm doing this, I'm pushing my temperatures around. Like when I'm painting in
color,

I think more in temperature rather than like color. Everything is a
relationship. I'm like,

okay, this feels a little bit warmer compared to this, so I push it. I figure
out what that warmer

version of that color is. Maybe it's, you know, since this is more green, I'm
going to go a

little bit more orangey red and then bump up the saturation. Get a little bit
darker in here.

This feels a little bit cooler now, so maybe I'm going to shift it a little bit
more blue,

bring down the saturation, bring up the brightness.

That's how I've trained my brain to work.

And then I put that brush stroke down and it's like, okay, it's not enough.

I'll zoom in so you can see a bit more.

since I've got a variety of colors and I'll pick like one that's closest to

what I'm looking for. This feels a little bit more green, a little bit cooler, a

little bit cooler so I'm going to desaturate it. So that's really how you

have to think when you're doing painting in color. You have to think in terms of

temperature.

right and kind of warm this this is my top. Put that in.

This needs to be a bit cooler.

Here it's pretty cool, a nice variety of warms and cools in there.

It was cool visiting Japan because everything is so different there, so I was
taking tons

of photos.

It gives me a lot of like inspiration, and the way they design everything is so
much different

than the U.S.

So it was really, really interesting to go around and explore and see a new
culture.

We've got some people.

Get their reflections in here.

I paint something and now that I've got so many different like colors in this
piece,

it's easier to mix color because I can be like, oh this is similar to what

I want over here. So then I just pick that color and then I paint it.

I'm going to grab this section, copy and paste, move it over a little bit, and
I'm going to

move it over a little bit, and I'm going to move it over a little bit, and I'm
going

to move it over a little bit, and I'm going to move it over a little bit, and
I'm going

Now, you'll see me switch between pencils and brushes.

Again, I have a hotkey set to pencil, a hotkey set to brush, and that's kind of
an easy way

to just go back and forth for me.

You can do it up here too, like here's the pencil, here's the brush.

And if you download my brush set, you'll realize some of these are set to
pencils, some of

them are set to brushes, but yeah, the nice thing about using pencil is you can
make a

dot, hit shift, make another dot, and then you get a perfectly straight line.

I'll transform these.

And then I can just hit command and click that layer, like the thumbnail and the
layer.

Hide that, so that selects my layer that I've got, and then I can paint within,
within there.

Let's feel like metal.

Another thing, if you go to the pencil, the square that I'm using, to get these
repeating

lines, I can just separate out the spacing here.

Round with it until it's pretty close.

I can do something like that, just copy that layer, then I can transform it.

Select the contents of that layer, then I can paint into it like I did here.

I realize some areas are a bit warmer and darker.

Lasso, create some shapes with my lasso, hide the selection, let's get rid of
this.

Can you see it.

you

I'm starting to get like a kind of graphic and painterly kind of feeling with my
painting.

It's a balance between creating these like super graphic shapes versus like some
more

painterly shapes.

I love that, that kind of stuff.

My background is more painterly and then I was put on to some more like graphic
kind

of movies.

So my style has evolved.

See how gray this is over here.

Let's select, you know what I'm going to do, I'm going to select the dark, I'm
going to

copy, shift command B, that will paste it in the exact location, and then I'm
going

to make this a color, and so I'm going to do this so when I'm painting I can
very easily

just hit command, click on the thumbnail, and then have that shadow selected.

And you'll see, even though these feel very cool, I'm trying to capture the
warmth of

the sun coming in and all of that.

So even though this is a cool color, it doesn't mean it has to be blue.

I'm going to make it a desaturated kind of orange.

I'm limiting my my color palette a bit to make a more sophisticated

This reflection on the train is very very tricky. A lot of like subtleties in

the grays.

So I'm going to play around with it, try to capture that.

A little bit more gray, push them back into space.

This temperature here feels a bit more green. Mix green into that.

This is cooler, that's cool.

As I'm painting, I'm trying to squint my eyes as much as I can so I'm not
getting

caught up into details. I'm really trying to force myself to see the big areas
of

light and shadow and the big areas of just really to see the color

relationships versus trying to render everything. You know, after I've captured

this really well, then I can go in and pick some areas to detail out a bit. I

hate the term rendering. I don't know, it just makes me feel like I'm going in
and

like doing a very mechanical kind of

process and I don't like that when we're painting. Painting should be very

like intuitive. You see it and then you try to capture it in an artistic way.
You don't

have to go in and be a camera or be a render engine. That's what 3D is for.

Let's flip this horizontally and get a new perspective.

Select that gray again. Let's do the sign over here. The sign is pretty cool.
Something

like this. You can make a selection. I'm going to hide that.

It's the first time I'm using blue in this piece.

I don't think I'll use blue.

I'll omit blues.

I'll use grays instead.

I'm doing that to create a nice color harmony.

You don't have to use every color when you're painting.

It's better when you don't.

They say signs of a good painter is someone

who knows how to use gray.

So basically, what I've done is I've just put a bunch

of abstract mess down.

So now I can go in and design out this a little bit.

I've given myself a ton of color and texture

that from a distance it'll feel like this kind of graphic

design.

here and actually design something a bit.

I don't have to spend a lot of time on this because this isn't the focal point.

as you're watching this, feel free to kind of do your own demo too. I know it's

it's a little, people always ask me to see like a full painting demo, but I

feel like that's so boring, so I'm trying to keep these as quick as I can, but

there's still gonna be lots of times where I'm not talking a lot, so I

apologize for that, but hopefully you can, you know, watch this out of the
corner

of your eye as you're doing your own.

It's too boring.

I think that's good enough.

Let's take that.

Yeah, and we've got a sign. I'll duplicate that. I'm going to bring down the
brightness

because it's drawing too much attention. I'm going to use this mask thing and
then maybe

bring back some of the brightness.

Yeah. Yeah. Happy with that. I'm going to select this. This feels too bright.

It's interesting.

Let's take this, copy, paste, restore it, back, I don't know if that's like a
reflection,

it doesn't make sense that would be a reflection, maybe it's the same poster
just like inside

there.

I can take this, command B, change the colors.

just erase out parts of that. I'm going to zoom in.

So yeah, that's kind of interesting, right? And like the reflections of the
glass and all of that

without having to repaint all of that.

Noticing

messed up some of the proportions of things.

That's fine, we're in Photoshop, we can move stuff around easily.

Thanks for watching!

These signs make this feel like a real world.

And I've been mostly focusing on this half of the painting, which I shouldn't
do,

but it's just so interesting over there. I got carried away.

I'm switching back between the brush and pencil to get some of these hard edges
in there.

Select.

Reflections are interesting, how to get those in.

Thank you.

Bye-bye.

Select that shadow, Shift-Command-I, inverse it, hide that selection, Command-H,
and then

go to Levels, Command-L. The braids, I'm really just going to make it pretty
much white.

I want to expose for the shadows, and this is something you can play around with
if you

have an iPhone or whatever. If you're inside, I'll just use inside as an
example, you're

inside and you have the camera open and you click, you tap on the window so
you're trying

to look outside. It'll make the inside pretty much black or super, super dark,
and then

you'll expose for the light so you can see what's outside. Then move your
camera,

click on the inside of your room,

and

then it'll brighten the room. It'll make it so you could see what's in the room,
and then it'll make the

outside

basically white. You can't see what's out there, or it'll be like super, super
high-key.

High-key meaning

we're in a value range that's on the high,

high values, high end of the spectrum, so we don't get really dark darks.

And that's something you want to keep in mind when you're painting.

You don't want to have a painting where everything is exposed, because that's
not natural, you

know.

Think about it, when you're observing reality, you're observing things in
nature, you can't

see everything at once.

Your eye has to focus in areas at a time.

stepping back, really squinting. It's important to do that because I'm trying to
paint these

abstract reflections and stuff, so I have to go in and really observe the big
shapes

of light and shadow.

It feels very nice to just kind of sit down and do a photo study. It's been a

bit, it's good to always come back to this and do one every once in a while

where you observe, you focus on like your painting technique and spreads.

saturation in there.

Thank you.

Man, I am avoiding this train.

This is a—I should not be doing that.

Maybe I should just crop my painting like this.

Yeah, this is a challenge trying to paint this train.

I'm gonna check myself here. What color is that? See that's so, yeah, this is so
crazy.

It's like there's lots of like grays but warm and then it's like what value is
it?

Let's get some of that cool online.

Thanks for watching!

it's easy to get almost lost in an image like this because there's so much so

many like little little things you can get caught up on yeah people

Yeah, all this stuff in the train.

It's a big window in here.

Find that selection.

We're reflecting stuff over here so there's a lot of like blue, I'm not using

blue, but like cools, greens, like that.

I'm not using blue, I'm not using green, I'm not using blue, I'm not using
green, I'm

That's the scale I'm trying to get on.

So it's a balance between these really graphic brushstrokes versus the more
painterly.

It's a lot of what Spider-Verse was all about.

Thanks for watching!

This bright, weird highlight right here.

Putting in a couple of these cut lines here and there.

These are reflections.

Flip horizontal.

How's it looking?

Uh, barely happy with it. Let's, I think this bright, this highlight here is a
bit

too much distracting, so we tone that down.

You know, just because it's in the photo doesn't mean we have to copy it.

Add some more of these reflections.

final reflections on this. So it makes it kind of tricky to paint.

But when we think about this in terms of value and temperature, that simplifies
things a

bit for us.

Um, I'll take a step back.

I would like to refine the people a little bit and get like a little bit more
information

on the floor here and then I think we'll call it done.

Okay, let's get the people going.

Amen.

Get in a little bit.

You can see my reference, it's pretty low-res, partly on purpose, because I
don't want to

get caught up in tons of detail, because if I could see every little detail in
these people,

I'm going to be tempted to paint it, so sometimes I'll grab my references and
I'll purposely

make them low-res, so I can't do that, it's a way to force myself to be
painterly and

make better choices.

Go to Beadaholique.com for all of your beading supply needs!

Yeah, my navigator over here so I can make sure I don't screw up my image when
I'm

zoomed in like this.

Because I will do that and I'll get caught up in some detail and then I'll just
mess

up the whole image and then I'll have to go back.

I'm going to put my brightest grey on this character.

This is the only part where I'm using pure white because I want this part to
stand out.

Now let's do a little bit of flooring here.

I'm paying close attention to all the different materials in this piece because
we've got

like cement, we've got like plastic that reflects, we got like the fiberglass or
whatever this

is made out of, and you have to capture these material qualities.

I think we're close to done.

I think, is there anything else I need to add to this?

You know, I might, I might later on, you know, after getting some fresh eyes,
but for now,

I think we're good.

Then take a step back, see how we're looking.

Yeah, I'm happy with it.

I'm going to leave it at this for now.

As I say that, I start adding more.

Yeah, I'll leave it at that, and awesome, thank you guys so much for watching.

I'm going to put the Photoshop file in here so you can check this out and see
some of

the steps in higher res if you want, and what else, yeah, that's it.

Feel free to, if you try some of these techniques, tag me, say you learned it
from my video or

whatever, you know, it helps me out, and then I'll share your, if I see it on,
you can tag

me on Instagram or whatever, I'll share it, and yeah, I can't wait to see what
you guys

do.

Thanks again, and hope you enjoyed.