Hi everyone,
Today i will show you a useful tip about drawing the shadows,
and you can start using it right after this video
and you will see a big difference in shadows
even now you can see on this picture that there is a big difference on shading between left and right
before we start, i want to tell you about the XYZschool,
they've launched a new course,
about hand-paint, the technique that Blizzard's painters are using
hand-paint is almost always a stylization that always simple
and become less obsolete over the years
and if you open the list with the most popular games,
turns out that the most of the has this technique
Teacher is Tamara Bachlicheva, senior  Blizzard characters painter
she worked on WoW,  Heroes of the Storm
Overwatch,
And during the course you will be taught to create weapons,
Because its the most simple way to start using this technique,
on example from those weapons,
Tamara will show the methods of her works,
And if you'll teach this technique,
therefore you can move on into creating a characters
Course is divided into 3 parts,
First part is theory and practice in handpaint,
and in the end of this part you will have a ready concept of the weapon
the second part is creating a 3d model by your own concept
but for this part you gonna need to know at least 1 3d programm
not really important with wich one
On the 3rd part you will know how to present assets,
will learn to work with the materials, lights, and render,
also, Tamara will explain
how to show your works in the best way in your presentation or portfolio
the duration of this course is 3 month,
of course for this amount of time it's impossible to become a pro painter, but the foundation will be set
and you will have a lot of experience working on those programms
but to learn the style is much more difficult task
namely the understanding of aesthetics is what employers want
XYZ studens got a job in different companies,
Sperasoft, my.games,
and etc
You can pay to this course before 28th of september,
And the education start on 1st of october 2020year,
Using the promocode: RUSLANKIM you will have a 10% discount
On handpaint course
I'm gonna show you some tips on drawing shadows.
from hard to soft
and you will that it influences greatly
on how the final picture will look with color
because if you draw the base in black and white
and add color after that
so this tutorial will help you very much
because on my channel i have a tutorial
on how to draw a color from black and white
and this lesson will be an addition to the coloring
First, we make the base in black and white.
after that,
we can color on top of the shadows,
But even if you work in color from the start, it will still come in handy.
Let's start with simple shapes
For example, we have the general shape of the head
and the selected total large mass
We can take a separate layer,
And take the brush you need
Usually, you can paint with a round brush as well
but I have prepared special brushes
In them you cannot choose the hardness of the brush
but this will help me not to constantly switch
between brush hardness
but just choose the right brush
this one is harder
this one is medium soft
and this is the softest brush for general gradients
we will consider every brush,
but first I will show this brush with a general gradient
we can make the brush bigger
and do shading in some places for example
for example,
we have
indicated the total head volume
And now it looks more voluminous
And even if you start to apply color in this form, it will already affect how the color looks.
either it will look dirty, or not, but of course you'll see the other tutorial on color
but if,
if you paint with color on a bad gradient
not  on a very clean gradient
and with various hard transitions
then again, colors can look dirty due to the bad black and white transition
and in general,
there are fewer problems with this form
Because this form is big and common
and here, for example,
we can flatten this part
And in general we already have a certain mass
Now we will move on
into smaller forms, for example this part
we can make a separate layer
now i won't do with this brush
and i will take a medium soft brush
and will make a new size
and I'll try to draw a shadow here, just like it shown here, as i made a prepared version before
and if we do this way
I have my brush set up this way that
that it thickens in the moment where we have the darker part
and here I have a very smooth transition
But at the same time, a very tight transition
this gives the impression that there is little shading
In general, you can draw right away with reflexes.
for example you make the color darker
make such a shadow
and then walk on top with a reflex
You get it in the middle, between this dark to light transition
there is such little shading and seal
this way this shadow looks more realistic
but it depends on how sharp this angle is
now it is not very sharp,
unlike these edges, which we will consider with you
where we have this part
here we get a rounder edge
but here, due to the fact that this side abruptly goes beyond this plane
then here we will have a seal on this part
we will come back to this a little later
But for now let's talk about this
but here we get a pretty sharp corner
but not too sharp
so we can do something in between
and for example,
and if we wanted to show that we have a smoother shape here
for example like that
then I would take this brush
and would make the blur effect more
Now we have a smoother shape
for example,
if you want to face look fuller
You can round off all these details
You work the same way with other forms.
For example in here down below
for example, you can outline the general shape of the bags under the eyes
general shape or general gradient
and then outline
harder corners
for example you want to show more wrinkles and you paint shadow here
and draw a second wrinkle here
we don't want her to be too hard
so we erase the extra part
and now we have
such wrinkles
and by this principle you can draw any object
for example, here we have an eye
with this brush
you can mark the shadow and light parts
and we will have a general gradient on
on the volume of the eyeball
you can outline all this more accurately
Now we will talk about the various pointed shapes.
for example, as I mentioned before, this is the bridge of our nose
we just take
but first let's add a general gradient so as not to get confused
Here we will make a small smooth transition.
Here on this side we have a sharp edge
which goes beyond this plane
as I showed earlier
And here, depending on the lighting
Here it will be darker with this lighting
than here, here we will have a kind of glare or the most light part
and here will be the dark part
if the light came from there
Then we would have the opposite
here we would have more highlights
and we will add a second light source in the end, but now we start with this - add this all to the mask
And then we will add
a shadow part
But let's make it as dark as possible
You can take the hardest brush  and add the shadow part here.
you can make this brush smaller
and here
even though, regardless of which brush you choose
Here you can adjust the size
And the smaller the size, the harder it will be
But here we have to look at how long you can make a stroke.
Therefore, now you can do shading like this
But if you want to touch up
You can choose an eraser with the same brush
but in a smaller size
For example, make a clarification
because this edge is not the same shape everywhere
as an example, let's try to schematically depict it
for example here
Here it is smoother,
Here it goes more sharply beyond this side
We get this form
and this part
You make this transition darker
And for example, it might be like this
Here is not such a sharp corner
but more smoother angle and this also needs to be shown in the shadows
The same goes if you paint a falling shadow, for example
Now let's draw a general falling shadow from the nose
And for example we have a large light source from above
and we'll paint a hard shadow here
let's try to
make it upper
we've made a smooth shadow like that
and this part
is shadowed
and here we get a shadow at this moment,
is close to that area
from where it comes from
And here this shadow can be very hard
we can make the brush smaller
and here you can make a very sharp and abrupt transition
And here it can stay smooth
it is not that smooth, but still
but it exfoliate a little, blures
but we still can see that here it is more rigid, here it is more blurry
and thus creates realistic shadows
even if you make a falling shadow from the wall, cabinet
it will work on the same principle
And now I want to draw your attention to this small reference
Even though there are too many details here and the skin is uneven
But in general, you see that this edge is very hard
Here it can be blurry, because it reflects light
and here
we get such a smoother shape
and it needs to be outlined
And we mark it with this seal and a smooth gradient here
and here we can also do shading
and as you can see, here we have a very large seal and it disappears abruptly
it means that its a very hard edge is obtained here
And by this we show the shape of the object that it bulges very much forward.
and exactly under this perspective
we see reflective highlghts
but they are already beyond this line
and therefore we understand what form this part is
And this gives us a lot more information about the volume in general.
or these parts
We see a seal around the edges, here is a smooth transition
But it is so small that we may not immediately see it.
well,  we could draw more smooth shapes, with this brush
But the bottom line is that it's not really about the brushes.
but the fact that when you will be drawing with any brushes, you remembered this principle
And your shadows will be on a different level
In other words, you need to keep this in mind and practice a little.
And then everything will go on automatically
And you wouldn't have to do everything in several layers with round bush
even if you download my brushes
then you can make a highlight in one stroke
and it will already be tight at the edges
And  after that you can just
Correct this edge where needed
And this way you can work out every detail.
This is more difficult in portraits than in simple objects.
Therefore, I decided to show on a complex example
and now I will try to show more examples
here we have an eyebrow
and we can show the shadow part right away
and this way we show what shape this eyebrow has
we understand that this part
of the head
it's
dims here because
the shape of the head is protruding here
That is, we now understand that this part
That this part is protruding
and due to the fact that it protrudes along with the eyebrows, the eyebrows are in this part
therefore, having designated this shadow part, we gave it volume
here we have this part,
it's shaded for now, but we can try to
give it a very large volume
In here,
with the big
with the big volume we will show which form it has
And we understand that there may also be shading here, at the upper eyelid
And here is darkening as well, because it is in a large form
And here we understand that we have to draw ambient occlusion
and we can designate all this with harder shadows
A lot depends on lighting
But if you initially draw just ambient occlusion
Then you can always start painting with this brush
and draw whatever you want
and later on,
If you will be adding any hard shadows
Here I added a shadow from the nose
and then you do everything in a separate layer
just a moment,
let's make a highlight
here we get the zygomatic part, and we make it more extended forward
And again, due to the fact that there is a more round shape
and we understand that there are no particularly sharp corners here
and therefore we make it as soft as possible
and you can additionally add a glare
although because of this glare it may glow
but still we'll add a smal glare in here
but for example, if you want to
for this zygomatic part is to be very sharp in this place
here it can be smooth for example
And here it is very abruptly going down
so we will show that it is sharp in this part
and for this we just need to take this brush
and,
and make a shadow seal here like that
And thus, you understand how much volume this picture had, and you have more information
And if you want to make it denser here and more blurry here
Then you erase this part with an eraser and make a smoother transition.
you get such volume
let's try to do it on small parts too
for example here we have this round part
You can make it volumetric, make different highlights.
And we will make the brow ridges more voluminous.
And we will try to make this form the most voluminous.
And here we can add additionally the glare
Now I overdid it a little, but you can approximately leave it like this
And lets try to do this part on this example as well
Again, if we want to make it smoother and don't want to underline the face features too much
we can just make a smooth transition like that
and if you want to make a harder transition
Then you make a seal here
and finally,
i will try to
to add a second light source
to emphasize the volume
let's make the background darker
and we will try to use general
second lightining
and add it to the edge
For example, I very often see how this reflected light is added
Or an additional light source In a form of very bright
on very bright light part
But due to the fact that it is everywhere equally blurred around the edges
I've already talked about this the whole video
due to the fact that it is blurred everywhere the same, it looks less realistic
and again, if you later paint this portrait, do it in color
Then these transitions will affect the light
And in order to somehow determine them by rigidity
you can use an eraser, a regular brush
adjust stiffness, or here you can
make the edge harder
and since here we have this protruding part
we can also define it on this side
And here is the upper eyelid
and this part
We can immediately shed light on her
but here we understand that we have such a smoother edge
And we leave it with such a tough brush
or we can make it like that
here we understand that this part
We have a smoother edge on this side, a harder edge on this side
and here we have something in between
And then again,
Now I have made the exception method
First I drew the same edge everywhere, then I erased all the unnecessary parts
But you can do it all with brushes from the beginning.
And if you get used to constantly changing the hardness of the brush
and you will know which to use
You will know that if you want to show a smoother edge
then you just set the hardness to minimum
and then add this color
and,
And finally, we can work with this part
Add this complementary color
And here we get it as hard as possible
This is how we get the second light source.
But again, here we see that the density in some places is less realistic.
that's why I made these brushes
but so that you understand how they look, you can make them yourself
They look like this, this is our toughest bush
And you see that in the middle it is dense
and has very sharp transitions
and at the same time there are a lot of these abrupt transitions
and it seems to be sprayed
and here we have a very hard edge
and here is a very soft edge at the same time
And there is a medium soft brush
it is very blurry
and it is very good to make light objects with such a brush
glowing objects*
Here we have a seal and a very smooth gradient here
and the very last part is the most blurry
But in general, this last one does not differ much from the usual round at minimum stiffness
but it's still more convenient for me to make gradients with it
And I will remind you once again
if you draw the shadows correctly and evenly from the beginning
and do the shading
Then when you will paint it in color
And you are less likely to get dirty colors.
But also watch my video about coloring from black and white
But otherwise, these two videos together will help you a lot
While painting from black and white into color.
