HOW TO PAINT LIKE A GOD – Tutorial

HOW TO PAINT LIKE A GOD – Tutorial


my friends my name is Bhadra Dante let’s talk about this search now what the hell is the search by this term I mean the process of looking for a shape of whatever you’re painting whether it’s just a search of proper geometry proper Anatomy or the search of a very conceptual and weird thing like an alien design or something where you don’t really know what you do you’re thinking with your brush there’s a couple of pretty important concepts that she shouldn’t break when you’re searching otherwise you’ll just end up with a bunch of flat spots on your canvas and not having anything actually found so let’s go through that the trick number one is having a fast disgusting brush it’s really important the kind of brush that won’t allow you to define anything cool while you don’t know what kind of cool you want the kind of brush that only leaves spots and not distracting you from anything else also I apply the color dynamics option to create this randomizer for the color of each tip of the brush also kind of helpful to create a mass of colors that you want to pick up later this is all super new for me this is something that I came up with this week today and I’m really excited about it that’s why I decided to do the video so anyway let’s paint like an alien torso plus head or something so I’ll start in one layer with the background who has just merged literally having one layer and I’ll start defining some spots now the trick number two when you’re using this ugly brush and you’re making strokes don’t paint on a canvas never paint on a canvas ever at all in the beginning or in the end you’re never painting on the canvas you’re painting on 3d objects that you want to find that’s a huge difference that should be all in your head you should at first decide on like where is my character located so I probably want him to be like here somewhat like this is facing us at 45 degrees now I don’t have to draw this right now this is just to explain to you what you should have in mind before you make any strokes on the canvas you have to have an idea where your character is and he was probably like holding that big massive weapon let’s make a sword it’s an alien with a sword why not so let him stand like this and the sword will be right here now create a mess mass is really cool don’t bother too much about the background only define a basic color in the beginning like what kind of gamma you want for the whole thing what kind of brightness I’m cool with this kind of neutral pale ish greenish color now let’s actually start searching so I’m thinking about a three dimensional object trick number three go really slow this is anything about this slowness you have the 3d object in mind now really keep that geometry in mind not the geometry of overall like the character in all detail of course you don’t know that yet but what you know is that there’s like a somewhat of a cylindrical body in here and it has this quality to it of being three-dimensional and you have to keep this like a potato shape in your head on which you will be adding different details which are just color spots for now and you just drop them onto the character and searching for the proper proportions and everything so I’m marking in some places you can go right away in color if you are that good you can go in black and white you can go with the semi-transparent spots that I introduced recently like the search brush that kind of looks like water coloring thing that also might work pretty well but I came up today with this insane brush or should I say savage brush so you can search with this kind of stuff even really doesn’t matter the uglier it is the better if the more of a mass you’ll have to look through so you wouldn’t have to look at the shapes that are on the canvas but only thinking about the object that’s beyond the canvas it’s kind of a hard thing it requires actual three-dimensional vision but that’s what being a good artist is so you have to turn that on in your head and never let it go and kind of practice it a lot to be able to search whatever you want if you have that thing turned on in your head you will never literally never end up with a bad painting you will always be finding something cool because you’re not limited by any details the painting is never finalized at all even when that’s finalized it’s still not that defined you’re not that’s another rule never lock yourself and silhouettes and sharp edges of everything like don’t define like a perfect silhouette of the character and then paint inside of it but this is a horrible prison for your search you won’t be able to search you will have to adapt to something that you haven’t thought through all that well in the beginning and you’ll be locked up you make yourself paint a horrible thing so why would you do that to yourself that’s why we start with this ugliness so this color randomizer it changes hue saturation and brightness like about 10% from the color that you choose so if I choose really dark color it will be overall a dark stroke but with a whole bunch of different masks going on inside of it so that’s kind of cool it creates this artistic color variations that you don’t even have to think about another awesome trick whenever you’re searching for something defocus your vision like blur your vision when you’re looking at the canvas this is the perfect no like it would be good to become actually a person with a really bad vision for the beginning of the painting because that’s exactly what you need you need to be completely blind to all the details I’m literally doing this right now I’m a blurred my vision a lot of course a lot of things depend on knowing V and like what you’re doing at all otherwise you won’t be able to like if you’re creating an anthropogenic character meaning a character that looks like human like has human basic proportions then you have to know those proportions is that’s the part where you have to follow certain rules of reality so kind of do studies of that to memorize these proportions or you can like sketch right on top of what you see right now we can just start sketching creating all the hints for us to work with and all and then just paint on top again it doesn’t matter it’s such a mess right now that’s whatever we can sketch we can do whatever we want and there’s no need to erase anything even so I marked in the basic anatomy of some sort and then I started like breaking it into smaller pieces like different planes the top plane of the torso the neck the face facing up at downwards that’s why it’s darker another very useful thing this is not exactly necessary already but it kind of saves you time and might set you free a bit more because you’ll be faster is creating a good blender in Photoshop or whatever you work and buy good blender I mean the one that is not perfect that creates this mess even though blurring out everything it’s really messy and has really sharp edges to create a chaos of sharp subtle details but the main criteria is that it would be absolutely fast super fast in Photoshop it’s a good idea to use a special setting where we turn off the spacing on the brush in this case if you move the brush slowly it will be creating a lot of dense copies of the pattern but if you move fast it will be creating a very small amount just as fast as your computer can go but your stroke will be always real time fast it’s really cool and it really doesn’t matter that you have like a huge step when you’re fast why not you know just make a few more strokes on the same place and you’ll have a nice dense blending of whatever you want the main importance is that all the brushes are really fast you can create a huge step on everything and make everything look really digital and ugly it’s totally fine another trick is mirroring of course always mirror your image to make sure that you don’t mess up the composition some proportions might become more obvious like if something’s wrong with them and it will just bring a fresh view on your picture so yeah mirroring create a hotkey for that so you would be really quick with that don’t paint just shapes also think through the actual values values of not just lighting but values of the materials if you’re painting some extra metallic objects they usually look really dark so use really dark color to define them right away it will be easier for you to analyze what you’re doing and to search better if you define as much of things that you already know will be there as possible so if you know that the sword will be metallic paint it with metallic already the base for metal is basically like just a really dark color so let’s create some kind of armor on the chests try to define as better of the gamma as better of the lighting as you can possibly imagine on this stage if you need like help like blending some layers together to figure out what kind of color would it be do that why not just keep the chaos going and do Studies on some references to figure out how the lighting works in certain situations so you would be more confident about that and also of course keep in mind all the rules of how the lighting and all the logic of materials work that we discussed in drawing to painting tutorials that is like the whole math that is going on behind this mess right now I’m thinking through all of that as just in one layer in one quick liquid process so if that is still true it’s still you have to do all of that but not necessarily in segregated layers and step by step like that you can do that all together why not but you do have to practice that technique that theory first the way I described it in drawing two paintings tutorials and then after a while you’ll feel like you will be able to just do it right away all the logic is still there let’s search some color as well another important rule the search is best when you’re searching first in the bottom half of the brightness of everything meaning right now I’m not defining any super-bright areas they’re all like ambient light and shadows no actual bright light on them it’s a good idea to do it this way because right now we’re kind of like painting the base for the future rendering and it’s always a good strategy to put brighter details on top of the darker ones because brighter details always dominate they always stick out whatever is sticking out on the object usually catches more light so it makes sense to paint it afterwards to cover the bottom dark strokes with the new bright strokes of these sticking out details you really wouldn’t be able to realize how much of freedom and actually how beneficial it is to paint with the Massey brush that doesn’t allow you to define any silhouettes right now I defined the basic shape the basic geometry of the head but I have no silhouettes like look at this crap it’s disgusting but I know what I’m working with right now next I’ll just make the brush smaller and just keep going defining same kind of messy spots but on a smaller scale and then smaller and smaller and voila the whole painting is done and you never struggled with already too early defined silhouettes silhouettes are gross there shouldn’t be any silhouettes in a painting at all like ever even one is finalized don’t define silhouettes it’s not a drawing it’s a painting when you’re painting you’re putting color spots and light spots on the canvas there’s no place for silhouettes I mean it’s easy to listen to but it’s really hard to actually realize how it really works if you don’t define silhouettes it’s really really cool and liberating and amazing and it makes you so much faster if you don’t define silhouettes you only have to try it to realize how much of a better artist you are if you don’t work with the silhouettes you’re just projecting your three-dimensional idea on a canvas you’re not even seeing the canvas itself [Music] defining some brighter spots where I feel like playing around with that Abed what’s interesting about this colorful mess that’s created by the color dynamics option is that it’s actually in the end overall the same color that you actually chose this color and it’s most obvious if you just use blender on top of this stroke if I just blend together all the colors they will always result in this color because they are all being randomized around this color on a very controllable distance and as always even so if you blend everything together you’ll get your color so that’s the point you are kind of not actually even losing your real color is just turned into this combination of different complementary colors around your color so it’s kind of cool it creates this richness artistic mess of colors I really want to stress enough the fact how important it is to see the three-dimensional object don’t look at the spots look at overall object and just kind of like semi blindly at the spots literally constantly blurry or vision this is super important because it can look at other artists doing something really close to this I’m not the first one who invented this kind of messy approach with searching objects right away in color but you never can see what’s actually going on in the head of that artist you don’t know how much he doesn’t care of what’s going on the canvas right now because he is trying to see the 3d character that he has in his head this is where the whole painting has to be going on and you just project that onto your canvas with very separate spots so just take your time this approach is really really fast but it doesn’t mean that you have to be fast using it this is not how fast painting works you don’t do quick strokes quick movements with your brush you do very accurate decisions but it’s just that it requires so little decisions that it’s really fast anyway and if you will be rushing you will be doing wrong decisions and you’ll have to redo them and that’s more actions on the canvas and you’ll become slower don’t do wrong decisions go accurate just mark and some tiny spots before you actually figure out what you’re happy with I’m literally like doing this tutorial to memorize all the things that I figured out today so I wouldn’t forget that myself it’s like so precious for me right now like a note for future self okay so I’ll probably play around with this character a bit more but mostly I think I said everything I wanted to say so let’s do some time-lapse painting [Music] [Music] [Music] so there we have it some kind of a quick speed painting of an alien night guard or something I don’t know I don’t usually paint stuff like this but yeah it still turned out pretty cool even though I know nothing about fantasy warriors and whatnot so this is like an hour of speed painting I think it’s really good and more importantly it’s so easy to keep detailing this and get a perfect image in the end you look grumpy I guess you’re not a big fan of your hat me neither anyway if you have any more questions about how the whole thing works feel free to ask me in the comments and I thank you for watching if you did I guess it did if you’re here live a like and subscribe tell a friend paint in your head do whatever you want and I will see you in the next one bye [Music] we have to protect the emperor from the rebellion what the emperor came up with these hats I guess I’ll just go home and you can do whatever you want

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