This quick Photoshop tip will introduce you to the Brush Settings Menu. You will get a brief overview of the various options and controls along with an introduction to using brush dynamics to create custom brushes. This will also show my personal brush settings and the main controls that I use most in my professional work for creating concept art and digital paintings.
**NOTE: WACOM pen tablet or similar digital pen tablet required to follow along. Photoshop version CS3 demonstrated in video.
In part 4 of the Concept Art Tutorial series we add glazes of color to our tonal underpainting. We’ll use the color theory and strategies from the last video to create depth, model form and bring our creature design to life. This video demonstrates how to use blending modes and layers to add a transparent wash, or glaze, of color while preserving the tones and values established in the previous tutorial videos. Narrated by the artist.
This is the 3rd part of the Concept Art Tutorial series. The topic is Color. How it works, and an introduction to Color Theory. We’ll also discuss some strategies we can use with color to model form, add interest and life to our concept art and digital paintings. Narrated by the artist.
This tutorial demonstrates a rhythmical and gestural approach to laying in and drawing a head in 3/4 or side view. We will use the major thrusts, or gestures, and basic geometric shapes, like the “pie shape” to capture the head. This tutorial will show you how to add a lot of life, movement and dynamism to your head drawings.
There are 3 demonstrations in the video. The tutorial will take you through the entire head drawing process from start to finish. Topics include gesture drawing, construction and shading.
A common approach to drawing the head from 3/4 or side view is to use a 2 step construction approach. The first step is to draw a ball for the cranium, followed by drawing the frontal plane and jaw. Below is an example by Andrew Loomis (Fig. 1).
This tutorial will introduce a more fluid and gestural approach to drawing the head. The focus is on the major gestures, or “thrusts” as Steve Huston refers to them, and their relationships to one another. We’re also want to keep our lay-in simple, by using geometric shapes. The first shape we will use is the “pie”.
