Digital coloring
We already have the image ready and scanned.
In this lesson I am going to show you how we are going to color it.
and it will help us to give a lot of life to the illustration.
Go for it.
To do this, we select those layers
of the settings and holding Shift, we leave it sustained,
we select everything and right click,
we are going to combine those layers.
There we have everything in a single layer.
We are going to open our mood board, which is going to be fundamental in this part.
Taking it out here a little, we have it in another window
and I like to have it in a small window to use.
The first thing to do is separate the bottom line.
Here, for example, if we are going to paint on a layer below,
in this case we create a layer,
We select this green, we are going to paint and we see that it does not paint.
Then we are going to delete it
and, now yes, we are going to separate the line from the bottom.
We are going to remove all white from the image.
So let's load the preset tools.
We select the Line and we go to Window.
Let's look for the Channels option
and in Channels we press Control.
We leave it sunk and we hit it here in the RGB square.
This will select all channels
red, blue and green image.
Then we go to Selection, we are going to invert it
and we are going to create a new layer.
In the new layer we increase the size of the brush
and in a single stroke, we are going to mark everything.
With Control + D, we remove the selection.
Here we already hide the layer that we wanted to separate.
So it looks very similar to us.
Here we would already have separated everything by layers.
We can close that now.
So we are going to create a new layer.
And as you can see, here he already lets us paint.
I quite like this type of background color.
With the Dropper, we select it and we are going to give it here
with the paint pot to create that background.
We are going to use a very marked range of colors for this sector.
We want some pastels, not too risque colors.
These types of very saturated colors do not serve us much,
but we are going to move them through that part.
In the background, we are going to give it that we cannot paint on the background
to separate the colors
and that we do not start working directly in the background,
but in case we want, for example, to modify the color
from some parts, let's not have a problem with the background.
Here we are going to select the color brush.
The color brush has a line transfer.
Here we can see that we are painting and the colors are mixing,
giving us the effect of a very organic and analogous stroke.
You can only see that if you have a graphic tablet
But if you don't have it, don't worry, it can still work.
The only thing I recommend is that, for example,
if you have this shade of solid green take the color down a bit
to generate this type of dark and now,
But it can work the same, even if you don't have a graphic tablet.
The Dropper will be essential to create our color palette.
I go to the original photos of the colors that I want to use.
I want to have some finishes on this side.
As you can see, they are colors that are very desaturated.
If we see, for example, this green, it is completely saturated.
So I'm going to create a new layer and I'm going to start painting.
Very desaturated, so I go up until I find a tone that I like.
I think this tone works very well for us
and we are going to paint all the green part of the bird.
I am marking almost a solid color,
then the graphic tablet is not so fundamental.
For example, on the face, I want to raise the saturation a bit,
since it has a more vivid green.
Again we use the dropper,
we lower the saturation and we paint the parts.
If we want to select a color that we have already used in the bird,
I recommend that we hide the layer of the line
and here we can directly select the color that we have already been working on.
If we do it like this, it will give us a darker color
we are really working on.
We select here, we put our cape back
and very soft we are going to mix these colors.
For example, on the wing it is also a very dark and saturated green,
then we are going to lower it.
It will serve us for all our illustration.
I'm even going to raise the tone a bit.
Here we are working as by blocks of color,
then here we would have the greens.
Or by areas of the bird we can also do it.
We can give it a little shine, but not very marked.
Let us look like a colored pencil effect.
For example, here we select this green
and we lowered it a little and raised the lighting.
Nor do I want those brightness to be very marked,
since I want the line to stand out and the light to stand out
that we already gave him with the pen.
But I find this type of tonalities that the bird has interesting.
Everything will remain for this saturation range,
but it is essential not to get out too much.
For example, if we apply this green,
We are going to have a very digital green.
So with our greens that we have been driving,
It is a more natural green, more similar to that.
I'm going to give you some little details on the wings,
trying to simulate this area here.
And now these types of images are going to help me a lot
to give this area of color to the bird's face.
Here I am going to decrease the saturation a bit
but I like that it has that saturation a little raised,
since it will be a focus of attention to the viewer.
There it is perfect for us.
And this blue part of the bird seems very pretty to me.
So we are going to take advantage of it here.
I'm making him very gentle with the pressure
so that I have some very marked lines.
Here we would already have the part of the bird's body.
If we remove the line, we see that it is a very basic and poorly painted color.
But the important thing is the work that is on top
and that gives realism and support to the color that we apply underneath.
They complement each other in a very beautiful way and it works perfect for us.
Now we are going to continue with the peak.
I want that part not to be hidden so much.
With this dark color I fight a lot with the lines,
then let's clarify a bit.
I'd like to give it a little shine.
We are going to have a very smooth time or we can select here
and just a little more up.
Let's start with the yellow of the beak.
We select, lower, saturation and begin to paint.
Another thing that I really like about having the background like this
is that it works very well with this range of desaturated colors.
For example, they are gaining life and it gives that touch as old.
Another fundamental thing is that it allows me to highlight white and highlights.
For example, here at the peak is not a target at all,
but it is very close to white.
And see how the background makes that whole area stand out more,
I can even add entirely white to the eye
to give it more shine and we can also give it completely white
to some areas of the beak and the coat below.
I recommend that the layer where we have the line
Let's also block it there, here we have the activated brush,
it won't let us paint over it, whereas, if we had it,
we can damage the image.
It is best to keep it locked and thus go working
in separate layers of color.
Now we are going to paint the legs.
I like that same yellow beak.
So we are going to use the same similar tone.
For the tail part,
we are going to need the references we had of the toucan.
So we can see that it is a very similar tail color
to the bird that we had put in the sketch,
then this same tone can serve us very well,
but taking it to a duller cafe.
Many times, when selecting the color, I look for colors that are next to it,
a little higher or lower, depending on what the image asks us
to find that range of colors.
For example, I want to give this area of the tail a yellow hue.
That adds some details that work very well for us.
Here it could also work quite well for us
and makes the color not so flat,
but what really gives the volume
It is the entire part of the line with the pen.
If you can see the color here,
this is not completely blurred,
but they are some color changes as cut
and it works very well for us.
We do not have to be super-blurred,
since with the line you are not even going to notice.
That is why the tablet is not so essential.
This technique works for us almost with any tool.
It is important to get as close as possible
and polish those small blank spaces that we are left with.
Even in those that we get out of line.
Here we would already have the color of the bird ready.
Now we are going to do the bone part.
To do this, we are going to create a new layer.
And I really like this color that I already have in a previous job,
which is very similar to this background color,
but a little raised the lighting.
Also, it will not be literally the same as the background color.
Let's find a way to separate it, it can even go a little more yellow.
When I'm painting, I almost always use keyboard shortcuts
that we saw in the previous lesson.
I find that they work very well and save a lot of time,
they give a too fluid work and it is already a question of adapting
and get used to sinking the keys and painting.
Here, for example, we have the bone in this separate layer.
In the event that we want to change the color of the entire bone,
a tip that can work very well is to press Control
and sink above the layer to select that area
that we already have painted.
For example, if we want to make it yellow,
he is only going to paint that area for us.
It is also important to work by zones and by layers.
If we want to make changes and play with color,
We can do it in a very simple way.
I like how I had it.
Then let's just leave it as it was.
And to remove the selection, with Control + D it allows us to work
out of that selection.
Now we go to the plant area, all the flora.
For this, I like to first mark everything with a dark green
and then we are going to apply the details
and different colors that will give our image a lot of richness.