ee From scratch ) ilgernedit $\ Professional skils &To start: In the enime industry, 5 or 6 pieces of background for TV animation everyday, or 10 pieces vihen there are many You may be asKed to draw as many as 20, ofthem. How to produce quickly while maintaining quality? ‘Asa means to solve the problem, a lot of parts materials such as clouds, trees, v walls Its @ technique to prepare and compose the background by combining them. » There isatink This know-how is dedicated to creating digitalilustrations, tis also possible to “complete” the work for beginners who are trying fo draw ilustrations on a COMPUTER from now on | think that itis a good way for people to fee! the joy of tivng in Japan”. The complxbacirourd at ist ganceis actualy made up ofthe combination of mata and ther application. You can do itWhen | wanted to draw a background for the frsttime, | was “roubled” a lot< ftimes anyway It was very dificut to complete 1 picture, and immediately got frustrated. # Iwasa wonder ereienoe Intis took n CHAPTER, f you hol this down on érawing the background, you can respond by yoursel.& This afl desures the undying ideas al an ete beer fre ina vty of appcatons In CHAPTER2, natural objects such asthe sky and trees, and in CHAPTERS, buidings and rooms ) Vie will explain how to make materials and how to use them. Time Itis not limited to a single picture with a space, bit its skil-up to "complete including the matoral.| thnk itis very important » forthe project it becomes experience points, and gain confidence as much as that number, It leads to he slabilly of he crawng Ofcourse, its dificult complete picture oly wit the material But inthis book if you master the basic 3 idea of communicaing and how tomake the materal, then you wll be abl to respond tit. This isthe frst lime that Ihave been able to create a background of various variations by using the inage as a background. 5 You il beable: There are as many ways of drawing as there are people. what i will tell yous in this book 1, it is not strongly recommended only "drawing using materials’. 55 Itisnot. Through the material production, | tried various methods to inorease the drawer of how toe draw | would be happy if you could discover your own way of crawing, mochaa 02[Apowt this book? This book explains how to create background ilustrations using Adobe Photoshop CC as an example. . How to use Download Content J If you have purchased this book, you can download some ofthe brushes and textures used in the commentary in his book from cur ste. ‘bucadoniai tion >. « () Please access the following URL from your browser. . [Link] [Link]» (2 When the dialog is displayed, enter the following in the user name and passwordfields: User name: haikeisakuga Password: x64vg72ww (You can download the 3ZIP [Link] and use the file as a guide, brush, texture, like below It 's a great place to [Link] "Read [Link] read "bt" first, check how to use it, and use it. 5 rushabs gulepagi meyamyagrig) lexureang PS ile (inner image number layer] Filter [200 sample dala ofthe plat is as follows: In order = e@hun 10 register to Adobe Photoshop CC You . nuseit as a backup. Click the [Brush Tool] icon. 2 pen the Brush panel, and then click After) a = % ——_ peel zie paneli Sahatal : pen the drop-down menu at pte Sal a ect [Read Brush File]. [Link] the peeeey Tina Soil — jownload content "[Link] "abr" ) a gene change the size of the brush. You + , instal the folowing sample data: 03The background can be drawn with a combination of partsThe background ilusratcn isa composition of pats such as sky, sea, and trees as shown & inthe figure below Ths is the frst ime that we have bean able to do soln this book, i you only know ths, most Mostof the background ilstrations can be appied to the parts of how F fo draw and fo be aware of them. We will explain the basic knowledge that wll be dificult to al when itis done’ can draw pats. I you wart to lean how to comtine ther, then you hae ‘o master them. You willbe able to draw anyone wth a worthy ilustration ~- 80 pageslaking cooet Sjlasi Summer Sea Productions First, I took a rough and rough Perth, and the scenery was 3 | think itis divided into two groups. These 3sills'L | will continue to draw so that the ett is firmly out. ° This time, we will separate the layers and proceed wih each drawing. Ifyou want to modify the layout after you have fnshed drawing, you can do so by folowing the steps below. Multiple layers to make it, easier to change te layout How to use and craw each individual motif Draw a distant view. In a distant view, we are conscious of rocks. and shadows by not drawing any dark color wth a strong color, = uch as pure black can be used The things that are unlght, ar, and various influences When you draw 2 distant view ~ ofthe object, each moti'm conscious that it may be a different calor from the original color ofthe frame (See pages 21-24), 008Draw a street lamp with a gi wo wil be the protagonist of tis & istration can be used this pot, mot going to craw any lear + shadows yet.| dont know. This ime im drawing several layers separately 5 itis very laborious o draw each shadow separately f you have any 3° ‘questions, please fel ree lo conlac us andwe wil be happyto answer any ~ ing apart. Itwil be an incongruous and unnatural pice, soitshould & belf you draw a shadow at the same time, it will give you a sense of Hy uniy.| tink that itis. ‘The middle view andthe near view are connected bya lope, so you can craw them together We wil continue to do so Concrete without a patern — like a pattern With grooves and touch to make & ease to fel perspective Iwill drectit. Grass and trees are summer pairings so lsh colors wil sunmaree iin taste. ne smal hoes inthe fence ll hard todraw So he jedowsof emit and stant view eee i's asummer aig.) angly i it, and express a strong sunight. Up After that, you & the distant idl, ancnear view toenerthe aan ight. | Idraw Iput ashad wil be cons Itis finished by standing the silhouette. . 007CONTENTS Tostat- «+ + 002 2 About this book / How to use Download Content-—-~-003 INTRODUCTION Y The background can be drawn with a combination of parts Making Cover Illustration 006 /CHAPTER 11 The Basics of Background drawing + Point01 Background, what the essence othe landscape? -+012 Paint02 "Draw a picture wih te dference between ight and dark—~015 5 PointO3 Light and shade and shadow——017 PointO4 The shadow of the cloud changes inthe time zon CHAPTER 2! Drawing natural objects , Making01! Making02! Noyamoya Blue sky» GE Texture & Prot taeda ee Making04s Making05i Cloudy sky) Night ky Pico Prinz MakingO7? ——] Makingo8 fel) Ofte gos FE Pron = 64 PointlS Color perspective andar perspeuives - = -=--0 Poini06 Separating indoor and outdoor drawing——~026 PointD7 Drewing Light Reflections » + + +=» Pointl8 Take the perspective Making033 > Making06. Othe ky ay 9 Pain = Makingo9 @ Rock recon 3 : ss 066Making) Cif creation F A Making133 Making146 Making15i ofplanting S of the grass ) dos ution FE Pra Production & 8) Combination technique Forest landscape CHAPTER 3 Drawing artifacts , Making01 Making02 Making03 offend D Brick ¥ Wh white = Prdtn Block of walls it's eo LBB recon bare ofbrcks) 0) 94 Makingd4s Making05i Makingos Ofthe fence) — tees madre 5 foc Te ) Pro Of meta vals) poditond F ad 103 Making077 Making08 Makingo9" un ite) Of curtains > (Making wndoes FE Proton cond 1 tb 3 |Making10 Flay peduion & = 402 Combination technique 22 Classroom & 16.5 Making12? Making13 Making’ 44 + ofimodgen of Shoji Ofbran > 4 Poin F . Profan Making15 Making] 6 23 aaa] Tiled roof) se “8, 8 Pram ve 130 7 Combination technique 4 ‘eaessenn © AR MAKING3 Abandoned csleurg Lp 8 Making Last-——~138 Inthe exd——143 3 LASTS RRA Jala allem fla Maloun Mannan oroBackground drawing Basic BasicsCHeTER Point 0 What is the essence of the background and landscape? ’ Background (hereinafter, BG = Back Ground) is whether there is a protagonist (such as a» character) The way of drawing and composition will change depending on whether or not you are drawing. ¢ if there is a leading role, large It should not be a BG that claims more than its protagonist, unless there is , a great intention. This is especially important if you want to draw an anime background. , Background role | ‘There are many cuts that only show less than 1 second in the animation. What is important in that case is drawing Itis not* the density or density ofthe object, but the form in which the picture making that can be understood in an instant, itis in focus with the character and the bat poked It isa statifthe densiy of ground is ack ground increases, When the baciground has won over the character, its ight ¥ lf youwant fo blur the background, you can meke itfeel¢ goed Teri, 012 jaracter stands and exis's in what space. | think thatitis a ~ Esso ust pic king) Tis isageme ste fist Lens pocket - Lights of countess ca ime that ve sae a video fomthe unions endhigh tw igs This sna the fst movie fa Ie seen inthe pas, but f'sthe secant J tat ve seen novi hat the past Youcan coi Tis cei etal here, buts aed crc. Te sheet) of the aperture axe inthe ta 9 changesPin poke x \ = ® = * Be a F z , a a + Because itis in focus withthe character, the leaves in the foreground are blurted something you want to hide. You can also use)? the frame as a fame when heres a space between the frame andthe frame. “Things that blur infront often work well if you make ita dark color so that you can understand the silhouette even iit is blurred, Use of telephoto and wide angle F When you think ebout composition, you basically think with a stendard lens, and when you want io have tension and power, you can sea wide angle, ora character bus When you want to show the expression inthe topup, or youwant a compressed ricture thatthe » same things lite "Serbon Tori" ine up forever tis important o use telephoto when notin use, and depending onthe situation # the cheracier fs completed fst, Check if the character's perspective is telephoto or wide angle, and take the perspective according toi You need todo ths. C IMPORTRNT* O Wide angle lens - itis efective when you use then there are many things you want o show, you want fo emphasize the perspective the tagetis lose., When itis inthe middle cstance, willbe a dynamic impression However, be careful, as the edges ofthe tame will be leat watsee nape, Standard lens It be a natural picture dose tothe naked eye, withcut being cramped as iitwas compressed inexplicably.» 3 Distant view lens & Itwillte a depiction that compresses the sense of distance, lke puling outa part of picture taken wih a standard lens ora wide angle ens.» | often use it when the bust-up of the characier., 0130, lets see how you need to change the picture when you look att wth a standard lens anda telephoto lens, respecivey Let's do itNote thatthe standard and telephoto change not ony the character but also the range of he background ard t ny} Please. as ft were taken with a standard lens tis a picture of the composition The whole + bod of he character Ard the beckgound isa wide range. A stucture that understands the § strudure wel tis dg, From the person £ h frontio the backgroundit'all in fous. of the person in the compostion taken with D a telephoto lens Itis up of the face. The / background is standard Fee! the cut out part 3 of the picture in the lers so, it's only a very narrow > range. Please [Link] the background itis bury and gives a sense of distance. o there's more i want to show you. Z itjustmales ta wideangle.. character and perth dont match You can use he flowing command crate 2 nou he aid 2 be was lost. You can imagine the foot of the character Try the statue. Picture ) of Inside ths kd gets hs feet on the > «ground on a decent ground, when = What can you stand for? 014Point 0 Draw picture with the difference between ight and dark & Even though | superimposed the parts | drew well, it fused into a hard-to-understand = picture It is not possible to do [Link] is the quality of each part? Because £ tegardless, there is a problem with how they are [Link] is the brightness & We explore ways to improve the quality of combinations by controlling them. The picture is completed by repeating “light + dark" or “dark « light" Itis this idea that becomes the most important in drawing the [Link] bright things, dark things, dark things. Int ‘contrast, you put a bright one, the sihouette will come out, and the shape will be easy to capture and easy to understand. . Bed placement x Good pacenent O Te right pao te eaves, andthe te infon andthe beck By repeating light + dark, Ight- dark, The treein Font. Itlooks lke the tre is intograted, and the depth is felt: and the tre in the back can be distnguished ata glance. tisrot » In the case of tho left arrangoment, the bright leaves overlap wih the bright leaves, so you can see the trees in the back and the trees in front B, verlap Its not just thats no that its thats that’ that its thet. On the right, the right kaves ofthe font ree hit aganstthe dark leaves » that ar in the shedow of he back tre. The trees inthe back andi font ae clearly visbleIn tis way if you can modify itjust by changing 8 BBG For example, if you have a black har character against BG inthe park at night, you can see thatthe hair and BG tick together. In order 3 otto become undivided, lighting with BG is placed on the overlapping parts, and the shy is brightened in stage ec, the frished image ti aS important to draw while worrying about the surace (see page 25)., ots zee amalamenaCHAPTER 1 Basics of Background Drawing w oe +a to make it better t While placing the whitish cherry blossoms and the white clouds in the same picture, | devised to make the silhouette emerge well Let's try it, Ssons and blue shy. the chery blossoms are atmost white. ) . It is difficult to fly white in the sky. It is However, the back ofthe sky gives a sense of perspective Itisa picture of the situation that | want to brighten up. One of the most, common failures is to put a cloud on the bright object in front of you. It's not possible to see it as it sticks toi.» “te tai be dts hey anit ou wart goto ade Jocalin, you can go oa diferent locaton. Finally, avoid seeing the bright part ofthe cherry blossoms sticking tothe bottom of the sky. The lighiness of the sky You can} op it tothe extreme and make a difference, but the impression ofthe picture will change considerably, so the trees in the back’ I putt in the relationship between the sky (ight), trees (dark) and cherry blossoms (light), and ted to give out a sihouette. 016(Point 03 Light and shade end shadow $ /1. How light is handled is one of the key elements in the [Link] difference between "shadow" and "shadow" Let's draw a realistic picture by understanding and making a distinction. To separate the bright side, the shadow, and the shadow As sho ne pide on hero whe ight htsan objet scaled "ykege. You can do tis by cicting onthe ink below. There are 2 types of "kage": shade and shadow There is. in fat its geting dark Both are the same, bu thereat diflerences "Yin? Itis not the light of the thing itself that the light hi. Inv the area, “shadow” means that the thing hit by the light D | is other Itis a "cage" to drop on a thing Badexanle A x iis fale that ends o do wel, butt casts shadow The bing that became he oginaland he tng ta was ctin he shafons te sane. ne ase 3] ofobjads ofthe same clorandof ite smenaiue, te stadow part is the shadow Its the rice plant that becomes darker than itis. The & boitom sie isthe front The image that itis darker than the Sider orsideis strong However, be careful when there i apart where the stadow is fling Itis necessary. that’s what happens to < things. When the Ight hits, the lights reflected or dfused. lis \ caused by he so-called refscted cht Yin & Incident light\ Agoda objects in the real world, even if they look smooth There are many things with irregularities. it's totally 3 bumpy. It causes difuse reflection, except for smooth = things it's bettor to think that i's affecting the things ‘around you It might be good. 3 Bye vay goss tree sich as foe jas youve sonetig * ‘hat dozsn'thavea shadow, you can do sonethirg that doesnt have a shadow. 0”(CHAPTER!) Bac BASCS of MN Bzclgrnd Dravng: To make a corner Notlimtedto cues, want to put out comers.) When he light and dark gradient in the face- the lightest pace in the world. andthe darkest place. can be used. Then, the gun? andthe hon come ost in fon. Tis isa geal plat ola yourday wit goed nghts seep. ‘oui teat "Throw away the idea of "the brightest side = the top" > In everyday if, the sur and indoor ightng are ofen ovehead, sos impossible osay that he top surface =the rightst surface. Ihink that here isa stong ‘varenessofnow oc it However, youre ware ete stadows and shadows as mertioned ebove yu can usin cases wee there isno reference such os photos # There willbe fewer scenes to get lost. Total 11 Picture 1 and picture? ere the same ting, but ue othe effect of relected 2) light b's The surface willbe lightly bighterthan the Cin the shadow (wit the bulking We assume thatthe ground is made othe same material)» = ‘commen misoonggton ine soe whee he ground comes outas shown inpcie2 + From he mage tat" en suface se rigs band Ci you tink of Caste ein of he loge, en isee hon ati te yn fhe kge, he on hat te rag eka, Cite tats eg of inks og andi tikhailisnck,How to determine the brightness of the surface )» When you are troubled by fhe relaonshp between the brightness ofthe surface, donot dingush iby the upper surface or te lower surtace Ifyou distinguish by the shadow side, itis ofen alminated Reflection color ‘even if the floor or ground is not reflected in the frame > Let’s care about the [Link] if the foot of this arch & f itis water, the shade of this arch is more It becomes = bluish. The reflected light reflects the intrinsic color So when you draw a realistic picture, strong near the yin. surface If there is a color thing, you must be careful. »The shadow of the cloud changes in time zone 04 : ae cud depeting use its different, light and dark places will change. ,05 Color perspective and air perspective IMPORTRNT j 0) Color perspective & |i ‘The coor hes awavelenth, each tas dtference such as long sha. Wann colors such as re have a ang wavelength, andblve Which: cold colorhas a short wavelength. Color perspecive tales advantage ofthis diference in the visual perception of warm and co col. J itis @ perspective method used Wann cols are eas) to recogrize and oome olin fen of you, an cok coors ae ard to recognize on @& erty freezing So, in eccing the coc, the hings in font are warm colar, andthe tings inthe back arecol colors. tis easy to create depth when you createt. 2) Air perspective § tissimilarto the idea of 'tistantthings are cold” inthe isthe same, the distant thingsare col. The ‘more you look, the lighter the color wil be. The color of the sky in the case of outdoor, the color of the lighting in the case of indoor, the move you go to the SE ped ices lng deh ihren BA 9 in the distar red roof and the red of the trafic ightstand out I's » lor perspecve method, but even he same o back The natural color ofthe thing becomes thin the charters thai eas owe There notust abou whatyouwant doi aout wha yout odo han the ou Fok he towns think onthe scale ofthe Ear Sunlight atvays emis ight of various colors ((ed to purple iidescent) T itis not. As mentioned above, each light has a different wavelength In the a there are invisible fine deer nd water grains floating > We have a ltt of. the sunlight hits this deer, and it dues. The color is caused by Long wavelength = Times io avod deere, Itmay be easy to 3] understand and remember thatthe avoidance power is high. Red The ight has \ n power and wil survive farther than the blue. Inthe evening The reason te sky ool reds that blu ight can be recognized because os shot wavelength. The red rays of light fnaly tum into a ine auspicious, et. é you 9 cart avi it, you can hit it and scatter as far as you can recognize the red coo. T y to get started In the daytime, itis warm ccor that the s look tue This is because the ligt ray are not dfsed and go sri es nt ft togetthe cole 02"Expressing the overlap of light and the air perspective digitally 5 3e, you cen basically create indscepe where the back and 3 w can change the color later, 30 good to draw while adjusting ¥ If you draw wie prtecing the following things when you draw: front ited. It will be a picture. In digital, there is an advant (2 IMpORTRNT ' The more you craw, the mare your natural color wil be dyed inthe color ofthe sky and the environment ) (2 The deeper the light overlaps and becomes brighter (the three primary colors of light) Red (R), green (G), and blue (B) are the three primary colors of light red, green, blue paint tums black.) Incorras nthe case oli it ecoes white and bight onthe contary.« (3) Things in the distance are blurred (it looks hazy)"How to express the feeling of air * The fing of is between te tings in the front andthe ings n the back, andthe sky ings in te ron andthe hing in the back You cn reproduce by clicking on thei face Uke tis. tink the wayofhokingandatentnn ae fet ore pommend that you use it.» iched between the F The ainige D utlize the functons that can be used + Air filter * Since the screen has the effec of adding the color of that layer as light to the layer below, the effect of light and the sky Itis very convenient when expressing the feeling of feeling. 023 scab te ea sm(CHAPTER 17> Background Drawing Basics: "The difference between the things that are near and the things that are far $ tt will overt, but in order to make the difference between nearby things and distant things, it is necessary to give an air feeling, ‘and nearby things are unique colors itis good to put out stonglyAs you goto the back as shown inthe picture below, the brightness of the inherent color [Link], Since high density objects are easy to come out in front, draw near objects, and draw far objects « Neaby things # Distant objects" J increase the density (the mass density is minimal, the surface where te itinsic ight hits, Bn othe clr. stadows and shadows, shadows end shadows J+ \ daw ih conscousness., | drew ony wth takage if you draw something wih a stong color such as black, pu black will appear in front of you oven itis fr away Noon But there is some kind of light even at night, so there are not many things that look pure [Link] if you draw a black thing It is necessary to add a sense of ar or increase the lightness and lett blend in, unless there is a great intention when you are going fo doit Key When a character with pure black hair comes up ard uses pure black in the background, itis the same as when another person draws a crawing of the character with pue black tai, looks assimileted with the hai This isnot ited to pure blac, so be careful when using strong colors. loestetingemed, 024Night painting is the f you dr make pictures In most cases, places that are brightly lit artificial light becomes the main source of light, so@ extreme Hot you wil reate some ween ShaeCHAPTER |) THE Basics of Aoei Drawing cPoint 0 Distinguish between indoor and outdoor » When both indoor and outdoor come into the frame, the problem is exposure It can be. # Depending on which one you match, the way you display the picture will change. "Decide what exposure to match at the beginning of drawing 5 ‘When drawing indoors, you can see the outside When a window or the lite enter the frame, you can adjust the exposure to eit indoors Or cutsde the window. You will need io choose which one to allow-Both indoor and outtoor exposure is based on the intensity of sunight and indoor illumination. Because the light intensity ofthe light isnot balanced, it becomes [Link] most cases, what you want to show ) i bright | think that | draw with just the right amcunt of brighiness, no to dark, not foo dark the important things this, even ifthe indoor D) Even if there is something you want to show n he shadow, i is not necessarly necessary to make ita color inthe shadow. » When only indoor is in the frame $ Background based onthe postona relationship bewesn the indoorlght ‘soured te oe you want o draw walking ofbghress shoud ikaw? Yoezbe , & Coiling = (2) Wall 3 flors basically, unless there’s @ footight., inf, tereisnot mush nr ctange inthe beta” ike he cling the wall andthe foe sick together = Thecone ute tewal athecaing inher cme -thinktlocks god, butts solid, mage badlground = The cana tal ou nw atone. ete ooo, tbe fark wth meaning ket is god idea ake hok> at some othe things hat you can d in youre. To collect in the character also of the) characte Itis good to brighten te suroundings.(When indoor and outdoor are in the frame nd if you put the exposure indoors Fly ite. basicaly, on earth. is believed = ja theres ro stonge ight han sunight nk thats good Saturaton state The ight that tured into the expansive cutdocr sly 2 he color will be diffused indoors. When exposed to the cutdoors The inside isdarkened andthe sihovete stands You can do it. When the intrinsiccolor is derk, The Color will be crushed. View of the sky or cutie IF you want to miro he ndoor have a frame Sotake the plurge to play the = ‘ole of | ink that its also goodto repaate and asi mentioned eariet, you can see tha the ight © iS as trong asthe sunight There is nolightng in he room. There‘ore, the shadows that occur indoors B ‘are contoured Most ofthem are bry. A sharp circ « ‘hat does nat blur atthe beginning ofthe shadow itis quo, but rom the thing that casts a stadow As 5 @ gels stronger and stionger iano dit Recent digital camoras almost automatically adjust the [Link] if you actually take a picture of something in the shadows, It should be able to shoot atjust the right brightness. In the arime and game industry, which has alot of work-sharing, the 2 haracters are almost It comes up with a normal [Link] if the character is in the shadow, the color of the whole in the = nadow If the character is familiar, just the right brightness and color taste, the problem will be gone. However, instead of > fou will be bright by that minute, and the light will become saturated, so it will fly white. eis iri dan wiikey Sacigup J) canbe» How to cast shadows indoors In act ifoorighing becomes fe fight source Inmos cases, so te soeen Theres alt of lighting and shadow casting inthe itis expected to = struggle with how to You can do itthere were so. many scenes ntesane place Wher cawing,pay = attetionto the anangemet and nunber of igh, ‘Youneedto use the folowing conmant same sme eCHAPTER 1-3) THE BASICS ofIKUKETs WORKS: 07 Drawa reflection of light . How to express how light and image reflect on water surface, mirror, glass, etc. We will explain. and adjust the brightness so that it is realistic Let's do it. "When reflected, the light attenuates 5 Tho ight and image reflected on the surface ofthe wator ori the mirror willbe darker than the original [Link] ifthe sky was ying white Even ifitis reflected on the water surface or glass, it will become natural you put the color of the sky. The sky is reflected in the river.The3 _ Ifthe objact reflected in the glass is dark, the interior can be soon through. sky is white But the reflection is bluisht — can be [Link] dark abjects are reflected in the glass, indoor drawing & Itlooks real. is necessary (Dark ones have a property that is hard to reflect.),Q Reflection: Full of Brame fave Win in this picture ¢ There is a window on the wall of reflection D Banpesclaotes Wf In fact, in this way vertic It reflects horizontally, , Amemoe(CHAPTER 1) THE BASICS SUNEXAGES DRANG: GPoint Take 0 perspective) Perspective is perspective and [Link], you draw big things nearby, . Draw small objects in the distance. Draw lines as a standard to protect» this. You will need to create a guide in Perth. (Determine the height of the eye line 5 From here, | will explain how | think it is the easiest way to get a perspective. How to get to Perth, First, determine the eye level (eye level). The eye level is the horizon, the horizon, so there is the sea, etc. 3 Ifthe standard willbe. Required for the character to exist in the picture & Q- the [Link] draw a slope. As long ast itis basicaly a thing on the eye level There is a vanishing point where the parse line converges, so the picture on he right A guide fke a sea uchin-This is @free variable. You can change the size by shape, etc, or move left and right on the eye level 5 eae eee i You canslso move the chractertofind the vaishing point hat matches tig» een How's the character. can be used By the way, the guide is first about the {to Obtain See page 3. order Theres no problem even ate ooking for aleve 4 pont perspective ifthe varisting points, where = ay guide need 2 pictures if you want 2 points & Itbecomes dainoyance » and ten joudtawthe wal vhere the ctrl eanng You = can doiThe edge ofthe screen reaches lke @ wide-angle 3 file Dupicel the guide you went io make pcre » Uke Inthe vocal rection the free dafamatio is arg and then ho upper one Go fo Ths is also useful when drawing a slope. tisefecive 030Move the guide upward, with the ground where the character is : standing | drew a slope with different angles. » Iwill ty to add accessories that ae diferent from the slope and angle. 2 basicaly Al the way isthe same, duplicale ard stagger the guide. can be used. | draw small items (bags) with 2 vanishing points. . Ifyou havea pian, it's down to here. + } You can draw without writing. Afr the backoune, | want to expres the patie = lt depends, but line drawng (crawin of outine) s required tis notbecause Fl canton ves asense of Stree been ung ti pp orang now and ve beer using his ap fora long ime now and ve been usng = i pp for along time now You wil aso need to cate anew one. the § alu of the wok Above, if you net line crawing, you can use the range you ate. srecrmmened tat youcraw upto he sureunng area. if you decide now many perspective pons athe begining sage fist decide what kindof perspective you want o draw the footof the characterand ihe place tere it comes in contact Thnk abot f you wee to draw cobblestone wih n ale on your ee, you woud raw a 2-pointperspectve. canbe used.:You ind the eye level fom the vanishing pont ofthat perspective and then you put the guide in the seme way, and then you pu the pert in the seme way. Let's take itIf you draw 1 part first, you can look for other parts from there. If you proceed with the ; idea of taking a perspective = drawing a line drawing of the background, it takes time and feels difficult, so perspective is Think of it as just a guide. Free defomain of he square & | will place it so that the characteris on F You can find the eye level by placing the guide based on the vertical end horizontal lines of the square. Order of parsing It is not [Link], of course, but first look for things that become the standard, Perth from there % {entender ede aetnec tans 5Drawing natural objects04 Production of Moyamoya texture & flame image The texture of the Moyamoya can be put out a sense of random just to put, you can divert variously. F can be used. It is very useful in drawing digital backgrounds. Image sample block on gray betta Abra tat tends tobe stony o weak, such asa rash > Iwill drawa place where itbecomes moya witha brush (The bright part of the igure) Spread like watercolor Please leave an empty space to go through. and the color. It: isa ile dark because t bightens the inside in Brush Push and pull the moya part wit the fingertip tool {We will continue to expand it Photoshop) The choke from the beginning is suitable Itisl recommended because it can be pulled everytime Strength up to 50% | worked witha lot of people Brush ss Create a new layer and use ilin) 4 tis brush that is easy to attach strength ike - abrush. Tum tobe between the dark and the light 5 Wewiladi the par (the color ofthe middle), Layer mode yeu wan to reduce ihe transparency ofthe image, you can ckange the transparency cf the image to "Scr gress the stamp itis easy o co wel youleave behind. ean (now 46%, Pompom and color as you &Currently, even inside ofthe brightest place Male i itone more stop brighter. What isthe method But its okay, but his me in he process of(2) Cony the = resuiting moya and adjust the tone (hue/saturation)Itis a tool that ) ‘allows you to reduce the brightness of your eyes with a fingerti tool. ~ Rub vthag Poo woe Paper texture over paper texture like the right picture Putitin the ray (this time S6%) anna. inthe log, you~ can put water on the drawing paper, and then colorit. ‘nd ihen,| put anoher piece of drawing paper on it, and the play ® was played, and the play was played, Thereis a way to create ar ‘ugh, random texture However, itis dificult to draw and express. itdigtaly So you may use materials made of analog. You can 5 olit Recently, paper material data is available on the market So, » itmight be good to try locking for something that can be used 3 Texture [Download content on papertexture The of thetexue was 19@ 3 for the method. os:A\litle lack of contrast, so (5) copy and integrate (This time 43%). The overlay adds light and dark colors The effect will be changed by changing the color of the image. The bright coloris the color below It will bes even brighter, and darker colors will be even darker. Itt Therefore, overlay black and white images with no’ saturation The contrast increases when you putitin.n 6 stages The # texture of Moyamoya is fished de by ulzing fhe moyamoya 8 mage tackarounds of the rage ist, a new layer is used to base the fame imege. ~1. I doesn't taste even if you put texture on top of color ) EF ye put it on the solid color ofthe yellow in (The image on the right should have @ matte texture = ? = Moya Moya texture x Yellow- 2 & Base color 3 aii ls 16 1 a 2 e The effect of the overlay described earlier) e = Fr © think that the effect is easy to understand. F can be used Red» orange ~ yelon ard charge of color Uisbeastfl when Ihaveit , = ' i —_ aa this is my favorit. # But a little more, the contrastis i thought it would be powerful. = So, another 1 piece) of? Moya Moya texture overlay” I tried to letitin. Above It will be finished in. 037CHAPTER 2 Drawing The sky always comes out in the outdoor background. How to draw is different from person > to person So please keep the basics down and try various drawing methods. , ‘write the way of thinking in the main. First, draw the face under the cloud with the front material. The brush is .1 1 is the best app | have ever used, and i's a great way to make your life easier and more enjoyable. | will) ‘moya-lke. Use a translucent brush. Blue sky with new layer The gradients of Draw. Biue — light blue ® = Cherish the white and color change. Thisineitis esperimenta of) Layer ofthe underside ofthe — tango Partsa geet — veo eto iow te pole wto hein te aa The) unde ote cus compres, hr, nisl tink ‘that youcan see that it wil become mare and rire popula & ‘can [Link] you actually draw, deformation, 2 ‘tc. Even f | craw wthout using i, ofcourse, itis reat = Vyas, 038bof a distant view near the) horizon. Draw a thin cloud. » PF The underside of the near cloud in Font Be cart nt to get thicker han ¢ ‘You can db it. c ben davinga situs ofa cut aye ut tis ay topu cute depth when tis placed inthe panel [beset yougt sti yo bare tis asta, bon the lower layer of the cloud — vane 1 yout Create a new layer under the lower layer of the cloud, and then add the bright areas that grow up to the top. Draw Draw the lightest color as white, with neutral colors between the layers on the underside of the cloud. ‘When drawing a silhouette of the entire cloud suddenly, the proportion of dark and bright parts of the cloud: is inversely proportional (Basically, the near clouds above the head don't see much of the bright part.) (Clouds # in the distance can be seen in many bright areas.) » Fr Soe aswel ste vsbiycte xe ner te sou change yout contin, youn eases opespecie BF Youcan CCHAPTER? DavngNaued Oveds ‘With the Gouds infront andthe clouds = fips sracinigst te! Sg teen bente ml eh andthe underste ofthe haroeach cloud~ ‘Add the color ofthe stage dark shade Works FE Depending onthe wind, this round ithink it's good to finish with a coud of ight. Itis not.» Sharp part GME raters more reals q 3 Do net zim atthe clouds P \0v en seit. Fingep Toss (ae) youcan push np te ines fhe doud You can adustithy adjusting the , setgs tin and isapear andthe part andthe _mokomecko and the mokomoko ard the rokonoko and = the molomokothe stay pat that wasinentonaly = ill make it 2 Thin part t xis lke a bonus from here, but itis part that chenges the impression considerably, so add it es needed D Le » think that itis good. Create a new layer, and set the wind is blowing from the right back to the left front Draw 5 Seg) a broken cioud. Fine clouds, such as feather brush and chalk, such as a brush wth a gep is like a potted > | draw as if| press the stamp with a brush, and then pull it so es to blow the wind with a fingertip tool and extend it.Draw a high-rise cloud in the back with a new layer Draw like 9, butat the end, cick Filter > Blur (Move). J You can also use it as a too to make your skin look smoother and smoother. Then, put a gradient near the Ne@bhorizon. In the city, there ere many fine deer in the atmosphere, so this erea becomes gray. Finaty, from the top left, place a white — light blue — blue gradient screen to make the light source easy to understand. » I [the contrast was raised by the bell correction. it will end with the above. ,(AFTER? pjDRAVING NATURAL ECTS Hahing 08 Pepe the Evening Sky Giacinto he evening sky - this ime around the loner right Setitas a ight source. Evening > sky There are a lot of colors, but’ this time Purple — pink (— orange | made it yellow. Draw a [Link], my god.» Its not so much making of '02 (page 38) Let's use) ‘he clouds drewnat frstcan be used However, the cludsin he evesing are Nokomo The tick = clouds that were covered arereduced, so ty isallite crushit, make it thinner, and meke it = even more new. Adé douds. Both clouds are ming is esiovetetha nudes alge pat Cloud of Making02 4): _ Line ost quidanoe 2 to the light source. fou can éoitlook ate. that you cagideitobetackate base, Depth is bom (2) Leave $0, he ue cu in fontf yous ba, Thsap is a. geal vayto get athe wy one sigh guar So snl deomaon or cement an then they’ change way beget te nay guitare tis my recommended touse this method.of small clouds and stant views i’ tight and ight. like a layer that becomes = The clouds then added tothe drawing, and then » This is the best app | have ever used. Arrange » the shape ofthe cloud with rubber. 2 Draw the silhouette of the cloud so & far I've been there, of course All without using the material from the = beginning Itis okay to draw. Important 3 That sill nicely when drawing clouds L This is the best game | have ever § played. Itis possible to shrink, and + It's not that simple. you can paint the blue clouds J ou can doicwhen he iyi yon = the clouds around here are sil The range oigtness tthe et oes mo disappear I's alte bit easier to blend in with your skin bright part where the sun hts $8 © iysatidtaw a minute. Selection of the entire cloud then invert the selection Create i a new layer (in front of the cloud? From red towards the clouds in the back — orange (Select a color)? ‘See the next page for how to select the range. + Photo).the next step is to find out why.» YoucanuseitCHAPTER 2 Drang Natur (CIMPORTANT How to take a selection 7 Take a selection from the layer. cee The eyerto wich you wantio tke he selection — Ctrl the layer thumbnail Key-cick. Onsueoes, te sdecions erceed na dashed ine You cave ba. Youcan aso use the Shit and Cir keys in the same way. When you hold down, press” | key and the selection is irverted (yellow 3 the range whet the ight parts selected can * be used. Yellow for carity You can also = we asa empl,a in the cloud layer reate a layer With clipping mask Stick together and shift the bright 3 part (For ease of understanding on 5 the bright part of the screen (You can , also use it as a backup.) Clipping mask 7 How to use ilin detail on the nexi page < Ruptqngtoteett be, Point your finger a the briht pat ind rub it with a tool 3* Veveaeb ne tpaerpac cs Followed by the bright part} shape and color = & | adjusted it a little. lalso added a small cloud. 045CIMPORTANT"* Clipping mask does not protrude! ot ick onthe bight oe doud Youcan Z soeetsiate, and move the layers inthe bright areas , Yacnai While hotting down the Altkey, press the + down arrow key. between the layer= ‘and the layer above Move the cursor, and the cursoris Cick whon t changes. 5 toAnd the upper layer to the lower layer Lay inthe dark clouds below, but? befuddled The bright part protrudes from the yer Itis not. Clipping mask sticks You can unlock its in the same way s you do in the app slore-One the part that should protude ifyou wanto doth, you candoit again. tis> ‘a convenient function that can be moved.New layer (Color color Mode: color) Create a cloud layer — Clipping mask on And then purple + on the top left and top right The » color of the sky brush tool air 7 Brush and gradient tools , Filtnanlet tend bey Youtouan dso ee = anenlae (son yer sane vay. moe: set. The pig masks mee of sic aad = fede a ate tyra ae Thentumon fe iin he sant cadre Youcan aomisante, Finally, a new layer - bebe ky a5 nel es inthe igh Laps oda icin earn. ‘Add acloudlike a steak, this color The s evening sky is complete. Color - Screen 7 | put yellow on the overlay and tried to make ita yellow evening especially in the evening, there ae a lotof diferent colors. So, ) ease try to play by changing the color by all means. ou704 Cloudy Sky Production i ifyou draw a picture ofa lot of clouds gathering, twill become a clousy sky In the daytime, the D clouds Draw the underside to match the perspective, brighten the gap, and you are almost finished. » Cloudy sly gradient You can so = se he foloingopiors to csate, ‘your own may. in he end anos * It becomes invisible. This time the whole thing will be filled with = Clouds. Cloudy with 2 slight crevice Hyor want se the shy you cansethe bie ky. 3 iis odo. i will draw a cloud = PP dagean be used. Makingo2(363 Reg 2202) 1 he ride ofthe drawing & reuse the layer on the underside It» was a litle shaped. fist. Even f you draw without using any material from” hau the sane asthe doedsin he blue sy. ay?) 012 be coviszxe wontis abo: $i css o dpa inte isla. < Sea ven i rew te blue sky (8) Cloud Layers (page 40 If you want to reuse 37 alle, you can reverse the le se) and reuse Make the newlayer fhe same gray as fhesky — Fillin, Layer mode The color of the < image isthe calor ofthe image. Cloud iti putt onthe ear and blend the colorClouds appear again Youcan use it Use the mateia5 Benefs tom the boginning 5 and you can put something witha perspectives great ay get tke n rit. igots pet. n site le the aide. Its a peat vay gettoknon eachother ad cath che tis nt possible doso Csi ek en con eft io that & doesn't get ton big. 5 Nhile paying attention to BE the gap Roughly once to filthe space = | will continue to edd. The pacis noy The outineis gentle | tink thatitis goo. « Cut shape wih Fingti ‘like the clouds. Because tows in he diecton of he back i> was consous the paced pot of Fits > ishow we use the mata Ihave used itfor3 «longtime, but ofr thes not hen used ford along ime. ust drew he underside 0 | can ‘see it ight away. If you can draw the underside 5 imei bento da. maybe ast i dosa -Atach the new layer tothe cud below wih a clipping mask and draw a bight spotFilin the flowing steps Ifyou wantto apply a B etal coor othe contour ofthe cloue, apply asichty lighter neural coro he cortour othe Goud than othe darker underside. In ‘addition, itis okay to reverse the process with no.{tis the difference whether to paint from the neutral color or from the brightest color. (@Light color (2) neutral color 8 (2-6 dark bottom surface 9)‘Where there is no thickness in the > fooud The color is ceseto white, fis) ‘Tho brightest in tho picture Y Paint wit color. Craate.a new layer IE putit unde the cloud and pint it thsi ‘Where the sun shines. can be used. > You can also paint gaps as needed = Reader nien., se er cud end hese oud t's not that different... So, the diference in color if You can do it. New layer(layer — | rode utp) ani Ben cette beat he Gradient in less saturated blue I's a reat way tomake a dtference. Then a i litle at the horizon ne with dark cloud colors This is the frst ime I've ever = | seen a video of @ woman wearing a hijeb., gp The material of = ! lmoyamoya Overlay in front NewabibeY” The cout ison place inthe chu. Create a mask, andthen move it the bottom of the screen the black gradient is. ‘applied to the, llhideit. Basically cloudy} The sky's almost complete with this.» finaly the light. Putin with = F seasoning | ted itd Below Itwil be the end on. 050em When you craw cloud, you draw of erase it = You may repeat the pro. ‘over and over again You can doit tis not pssite to erase ite at such atime. Ifyou can hide wthout fail y can go back evenif you thnk youve. i can oitTheA ofthe ayer palete when you cit = Se yer mask Youcan adit the of thee tat jou wat aio te ist ale fs. « Layers with layer masks added White" thumbnail B next to the gallery Itwill appear, In the state where B is clicked, let's draw the black stroke on the leftts Straw out ofthe cloud layer The part- thal | putin the link is hidden We have) a lotto offer. The mask is painted white Display minutes, black painted parts? non itis a funciion to display. gray. When S youdraw it it displays as iucent aalecm05 Night Sky Production & Moonlight, lights from the big city The night sky changes depending on what the light source is set & [Link] Because the expression changes greatly just by changing the taste, you can enjoy the production. . b cradient through the night sky 3 Draw using the drawing tool yw ss &. Mistire | made ittothe odoraf the sky ofthe basicble the cowl [Link]| 2 comes it wpa tae, Da be [Link] i em pf course, draw 1, 1. Itisé ‘also good, but at the time § ittakes a while to get a brush for the & stars. Make and draw. Brush share: Check the type, angle Increase £ the % ofthe iter in the output. now? | made it 35% [Link] this So the star = brush will turn atrandom You can use } itasa bacup.CIMPORTRNT Create an original brush 5 How to draw yourself by creatng an original brush Let's [Link] the stars used in this book Try creating a> brush. Draw the tip of the brush. can be [Link]'s like a star that's subtly different in size. Draw and enclose = the stars with the Rectangle selection tool., Creaje a brush in Edit > Define Brush. when the brush registration is successful, the thumbnail of the ‘bush twit appear. Ifyou just put the bush, there is a sense of icongruy inthe interval by all means, so thet a sense of randomness comes out 6: anaajustit by seting or tuming it off Also the stars are alte larger, so make them smaler Take a selection of stars > If you add a layer mask from i, | think that the stars will be slightly smaller, probably because of antialiasing. can be used Ifitis stil large, Ctri+click on the thumbnail of the mask to take the selection, Ctrl+Shift+I to take thea selection If you invert the star and fil it with black, the star will be slightly smaller (because it is actually just hiding it with, amesk. (You can ty again.), 053duplicate the star, layer Fill in the color > of the sky If you hit - the layer Filter mode to v Screen Blur (Gaussian) > The light is sofl. The stary sky is complete with this. Gradient of the sky 7 ina itt lighter color & iwill draw a cloud & canbe wsed Tis ime Making03 (age 42The — sinoete ca coud drawn with Were-usedit = Lite Nyt cou its tg ong fon, bg ong, 3 loraon, len, lon, lng, ong, kn, org) it evn ids at night ae uncomfortable I think itis not. as in the evening sky. . |Selecting a Cloud Layer’ Invert the range so hat he month The coor of he bright cous illuminated by the light Paint on a new layer’ (bucket (Itis also possible to fil the tool) 054Attach a bright cloud layer to coud layer with a clipping mask to zeate a bright sure using the transform Thisis the fist ime i hal Ive ever seen a prduc tha ve ever seen, and I've never seen a product hat Ive ever seen before high-rise under the cud) layer. We put he cous in.t also reused what used inthe production of couds inthe evening [Link] inthe color of the clouds > The opacity i st to about 50%, andthe opacy is set othe exert thats fanty vibe.» Create a new layer and jwhen the moonlight hits: Not coring ceutsin he shafons 7 Draw in cent. Create a new layer and put the light effect in screen [Link] of the sky lightly per horizontal line. ) JApply a gradient to blend the clouds with the [Link] will end with the above.06 Making the Milky Way he Milky W Dat ntl inthe Ny ay Create a new layer and place the Milky Way £ The ight is drawn in the postion whore itis to bo @ awn ulate. bright soa tis fe es ight Itis okay even if you do not put a big color. Create a new layer and create a Making053 {page 52) Use the siar brush with the star2 Draw a pcre fstot al be aware of the bg stars 056witha B the bright part of the Miky tz brush Adda smal star around the nut. he blurring of the light ofthe star-The St Duplicate, merge, and fil with empty & color Filter blur (Gaussian) It will blur in, Set the layer to screen mode. can be [Link] there is not enough light, duplicate it. ‘Add the dark nebula Moya moya material {Ciri+! to invert the tone and reduce the saturation = Place things along the Miky Way Distibution &of the Reparatio k cloud ‘he extra pat ofthe derknnebulais The colo ofthe Milly Wey i d them above the cloud layer litle lonely, so dark stars Sd tel the str yer. Create a new layer and set the color of (Layers placed on top of dark nebulae layers (The d ‘Compare orght) mode".)Choose in hs is also favorte, so think that the ima fault is Uthink that color ‘of the Internet Please Bj reference, forte Miky Way nage seach son (Ight) mode is d color you painted T lor that was paired only on that part if was und o nol darken b aseCover the moya moya material before inverting the tone. Putitin baking mode When the The ight thet has 3 a light source is generated, Rotate wit deformation & let the milky way cool light You can also use the following commands:Not only add texture, but also add texture, This is the best app | have ever used. Try it > the black color ofthe dark nebuia has come outs 0, pick up the color of the edge of the sky, , Create a new layer and fill it with its color J Crush it to "Compare (bright) mode”. and then, | think that the black of the dark nebula is familiar. and fnaly, the edge. 5 darken the heavens) ry to emphasize te iver be We havea lotto offer. tha'sit.: 09(were )Dewarataohet Making? | . 07 Sea Surface Production : Sea surface production using the stained glass of the fiter. Itis also used for Ishitoyo and ishigaki. Itis a useful filter that you can use. - Ppp ia. please use the color of cdd color while putting + é fib ut unevenness You can use it. | use a moyarike brush 2 Rea We usedit. MpDupicate ()) and go to Filters > Filter y (BB Mcaltery. Rally > 2) Like in stained glass5 NP vwarseretiongsos—, Rp Auiomatic selection tool for white groove paris » BE (2:50 (or color gamut) to take the selection, wl Change selection > Expand to make the < line a little thicker The selection is expanded to the extent that it ‘becomes smaller. and then, Cirl+Shift+! to invert the selection - to create a new layer Fill it in. That is the white part of 3. Ap [2k the selecion ofthe Layer in (3) and then 5 v4 HB) Change Selection > Smooth in Polygon Creates a sclection that has no comers and has become: can be used Expand the selection again (without ines & disappearing). The number of numbers).and then create a newlayer, Ctrl+ Shift + | to invert the selection, then fil , (3) The layer is hidden).geen, be ple bye proce JThecas— dete ray and Re action oul able = want a litle fluctuation, so | transform it ike a wave in Filter > Transiorm > Waveform Wavelength (wave from next Itz controls the sense of randomness by the number ofthe distance to the wave) and the amplitude (the height ofthe wave) acualy messing witht Try and id justthe right number. o Faomw you can cut or drill a hole, or make a ring = you can glue them together to make a big ring + Igives aserse of randomness. » Next, Filter > Transform > Zig-zag and try to wiggle. This variant is suitable for the use of materials It ist ‘also a good idea to put it in when you want to use i eet ost(1) Duplicate the layer and level correction & The right triangle to the lef, the left triangle tothe lef litle to the night Ray of ripples The” clipping mask is placed on the user's computer. When the | think that it became light blue of random lghiness. & Input Level: the selection ofthe materi fhe ples tat you cealed= Thenet slop s oduct sleion, and then use the weve 8 fifheireros pat te cestwih wit Tis 8 agrat ator those who wate jeernmere bout sap. Te cath testa, soit ive ‘his apy, bt cant wat ee how wrk Duplicate the ripple layer and base It), Place between the ripple layer andthe rpplet layer You can doit. Tisis the best app Ihave ever used. Then flip ithorizontaly and veticaly to create riples Itz | is not possble to create a new [Link] will give you litle depth, | will try to use the materal of the riople. this time | | wl ty to produce the shallow water ofthe sandy beach fist of al In preparation, transform the layer of ( Newz layer (screen) after adding depth Create a gradient of blue — light blue — white This is a great way to make + the back of the room brighter. , 082Create a new layer and place a layer of sand in front of it. Place the colorin a gradient. place the rigple material and maichit tothe perh > It will [Link] this time — over- in Lay — Screen layer mode We have 3 alotio offer. , Create a new layer ard set the soreen mode, - The lights placed where you want fo Figiight it can = be used. Longitucinel reflection is [Link] the ) back | draw a bright fuctuation on the side Justin case, new #2 Create a layer and draw it in screen mode. Itis completed wit he above It will be finished in. » The ripple material was reused for the waves ofthe distant view. Compress with vertical deformation, and lightly extend horizontally fvith blur (move), | tied to duplicate some and place it. Ttis tme, | took the production method around, but expanded the selection range & I wanted to introduce large and small size and stained glass filters. Above ExSaw(HETER?>>) DRANG ATRL OMECT Making’ | 08 Production of the ground FE Draw a gradient of the ground, Oku Make bright and flew colors. in Photoshop, the fier sten Random lke on in De Grasse Tis is guide, + because it can be a square shape. : When used asa subdivided perspective & You can craw the ground that you fel. Guide each polygon on the basis of conscious, ring # fouch with guo's soft brush a Weniloriue bos, ‘The lines of the polygon are partially shaded wil paintit. & Of course with a stained glass guide # You don't have [Link] proper depth If it becomes. a picture, itis okay even if there is no guide. 064Draw shadows thatcan be made where there are regularities Z iewtcxiuro. +The ground is soft due to imegulartties ¢ It also looks different, so try to be careful Please. cortactus. Soft ground Hard ground Highlights where you want to show it 2s @ pebble” G: is the default seting Inthtcase, pebbles naturally shadow ! ‘You can also draw shadows as needed ‘Add it. The shade of the pebble can be seen only in front 35 fit. Itis enough. Distant pettles | ‘thats what tang about, fe gravel, ete. Ifthe base tne color - of the sun and the surface of the = sun, Use as a shade part Just } raw and look lke them Youcan use 3 it Percentage of visible ree The color ofthe base depending on the = case ts bo important fo decd. 065(HAPTER) ORANG NATURAL OBITS: Making” 09 Rock Production E Itis a work of rocks thatis difficult to draw with natural objects. This is the best game | have ever played!!III1 5 You can draw it without having to worry about.» isto be sitousteofnerok y Painted ocher rocks You: ccan do it Material in the next Making f 410 Used 2s a connecion wit big rocks and draw rock sightly smaller than it Youonue’, Be aware when drawing rocks hai, the rocks are negulr ‘ha’ a regular polyhedron = It’s not that [Link] course. and ifs just a matter of couse. Drawing with the consciousness of panting diferent sutaces | thik thatthe diferene in the pire comes 3 ‘oul pretty much. Ris [Link] anew layer, Draw dark areas wih a tarslucent brush You can use it Fits banstucent, it's thin. the difference comes = ‘cutin he derk prt and tho surface is natural jt Itis recommended because it can be., just like (2). = Oe Veulcénetf esl Just putt in multiplication mode here.» ‘asa gerry eng es 2 PParls thai have only been pairted once Stir the prt ht pitt times >ve pl tereleed nthe can be used. basicaly, he rock & it's outdoors D fsa godilea hae abot sme ofthe igs tat ae 2 ‘going on in your life, Pant the [Link] Layer — Create, somewhat cursory aso Thisis 2. good idea, buts not a good idea to use itfora long time. (This time the overlay 75%). I you putittoo flashy, the blue rye Its notlike I'm going to have to doy that ltsnol possible to doso. Shadow side to new leyer il nd the most anti-skyz the surface that will shoot & Paint in one step bright sky blue. . Youcan abo ty to be aware ofthe face Yara DB sts BD ats Finally, we wl put fine details. the bright side of the suriace that hts the sun, the crack and te fine Ifyou are conscious ® the surface such as @ hol, just cere about which surface and which surface are the same brightness, there is no failure. You can use this tol to createa new coloit will end with the above, . BP sa 067 fat 5fh (CHETERZ>> Daag AURAL ets see Making” 10 Cliff creation E | use rock material fo make ita cliff. Arrange the materials of the same shape fo make unnatural things natural § Put your hands so that they look like they are. eo” asihouette of a clif. 2 Place the rock [Link] as possible? JTho same rocks are not adjacent to each others Weill oantinue todo so, yd: bisby fe ofthe refed ightisalitlenoceabl, so the nem Create an ear and fill it with cliff color, ‘Set the layer mode to color 5 (This time 45%). Fyouwan a ont wiht ndaCreate a new layer and look floating oat ogee with e apa int. to change the shape of the same rock. Split or, conversely, stick together with other rocks to form the : ‘same shape We will try not to look at the rocks. The shadow that arock falls on another roc in another Draw. Finally, put the orange solid on the overlay (this time 25%) and add the color while leaving a cold color. ‘@ yt will end with the above. .[UPTER:p>DRANWGNATRU CRESTS ¢ aking’ {1 Production of hydrangea (flower) F i | make some flowers (decorative flowers), place them and layer them to form hydrangea. Fist ofl the decoaton thal fom he hycergea Dra bw tsi ert cars, ner dona ec ¥ Pit win cbashorts. 5 % | put a shade softly. at this point 5 spends pte eda pt ¥ | will ry to understand \ Draw a shadow caused by the overtap ofthe fragments. Especially darken the middle part of the hairine. ¢ central gtain-tke part called a non-plug flower’ Dawa ine To thee tats pat ismspicuoust ¥ To adjust Me darkness ofthe central par. 3 a 070We will arrange the [Link] can duplicate it and flip it vertically or horizontally, and you can see t at a glance It S not easy to understand when itis used around. , (5) Like 4 flowers and increased 7 flowers3 ensinenriennacteentacee trenton ea» her, the shadow frat he flowerin front copsis the fower inthe in mutipliceion made, you sk t with a clpping mask, and then (You can raw iin), 7 5, place the flowers on the sides flat to the extent that there is no discomfort due to deformation.) a® on(2) Up to layer ? Whatiis a copy piece (flower)? im& on isa drt colored beta going to ad diferent piece of crap. ~ Ouside while filing the gap 3 a To give a sense of randomness, Add a piece. If necessary | also S ‘add a bright piece of gamish to it. . Bias Jcrange the color of your choice by setting the color mode to “Color Mode”. Tis time itis almost the color as it [Link] Ha by deformation \ Since the direction othe highight has changed, add the tighlght to match the lighting from the top left tthe end. . ‘You can do 2. It will end with the above, ©- the contrasts not encugh, lincreased the contrastby level oorection Createa new layer and create a custom leer. Youcan 07Hahing’ 12 Production of hydrangea (leaves) E [tis the production of leaves that the camera approached How the leaves grow, whether the veins are parallel or reticular, The shape of the leaves is drawn to emphasize the features. First, the jagged leaves of hydrangea? @:- sawtooth around (tin leaf) meanst Draw a silhouette of the lea. Chery blossoms and There are similar jagged leaves of strawbery., Draw a reticular vein in a separate layer. @: Is easy to understand the leat veins of hytrengea.» | will draw itsthis vein as a guide 3 | think it would be rice to paint a color. » create a new layer, Areas where shadows and light 8 tit Draw while leaving a minute touch You can weit Tis time is ute "dos" | cha tin deta, but the dstznce and Its a> very simple carte, depending onthe taste of fhe > & work think tat it's goo to drawit easily can & be usad. at his point, you can see extremely > dark colors Itis better not fo use bright @ coors Let’ do later, when the eaves orerap > Its ficult to make a difference in brightness, 073 oe) Dae ert(QVETER? ORANG HATURALOBIECTS Hydrangea eaves are almost pared against the stem it grows like [Link] of it (3) of > Duplicate the leaves and reverse them vertically or horzantly = Yiunatourtsscnihip ht itn tare Tesi ton te moinin cto Place a piece of hydrangea flower. Cast a shadow on each leaf and stem. Real? Jr fact the diference beween the daknss of each staiow zt thinkthat itis, tt othe deence boon fan and ak I eiberaey ange the ilensty tthe hacow node nae he stadu more ito hn tetas Daten koe ‘Onemare sep by level conection, et. in ont of the at 3 Make the floor bright and fee! further in front ou cando sya fe Kc Th lon HORTA Or} lteante,, ite Tone hi ocr oa anata ace lg 7 Sate ernest stewie abi ts ‘wolay. There is abo a way/to pat the fart you want ti onFinally, we introduce the filter. Works : a he - ea ae = = |) mets | think that there is a time when it is like that |) =] This is a filter that helps you to get the most out of your- || @Edge Continuity cm work Filter > Filter Gallery > Artistic > Leaves in cutout£ BEdge This is the default setting. ——SS ® ot = © " = The cutout was cut and pasted with colored paper= ©: isa flter tomakeit like a picture. paint. You cant Use it to create a similar effect. Distant view! lis abo converien!tousefor hing tal bave oo high densi. Apply paint a4 075Haking 13 Planting production F [tis a shrub that is planted everywhere in the city and in the forest. Using leaf material : | will try to create it easily. hydrangea and limited If you want to create a filter, you can create @ fier by using the filter's cut-out method. The details are crushed and the jagged contours of the sihouette are scraped. Cut-out packing and } min Touch to make the place where its placed becomes smooth. » @:- the leaves of hydrangea, the process is first done to form a collection of [Link] time pb. a> Afr ain te elecon cee abn it> Dine Busan cnc e sage! Be bse Tyna hry eager, yu cr chae erga tan by cheng @ Oraw a silhouette of the planting. ) The materal of the leaf is deformed to adjust the size and fil it in black, . (bean oftin be eng croton hang he mg cf wltn be are irony caging he ag ofc ean ft ange oto shee Yu cn sees sol ean dente i. wefoming clusters ofleaves You can d it Besicaly purl rd Its the same. Place the E pled, 2 silhouettes of lace 7 Clipping to ear Create ay neew ayer with a gumask. Then daw the > bright part ofthe leaf. You can adit Tho production of the materalis almost E This is the end ° Control with level cortection hen you raise the las, siand The body is clear.When using the materia, carken the lover pat by multiplication, or put a slighty ighter coor in the djustmens that are conscious cf the tuning. The shadow reproduce You can do it quickly sihovetle tb tolightt tis be rushing t vel iomale cally by deformation, the sihouette end place: Thema IBasio even when not used isthe same Draw leaves alt yarengea eat We wl connueto do so. wil ed wih he above.14 Production of grass Stained glass fitters are also effective for the production of grass. the farther you go, the more you draw. j Itis not easy to use, butitis easy touse. > ef 5 ‘As with the ground (see page 64), the step is* Lightly touch [Link] paragraph as much as possble* {You can use t S fo mal 9 together. J I is divided into far, middle and near on the floor. | draw with consciousness. feel the air.< I put the blue in the back with a gradient. | wil put the color ofthe shade of the grass roughly Ae The backs gradual dawn as fits. We wl eninue to reduce the burden on our customers. The grass 3 jo draw bright sihouettes You can do [Link] the light versus the dark is fori tis convenient to meke the brush of the brush. However, the basics of the same shape wil not change here. Ifyou justine up, you will naturally feel a sense of incongruity ‘$0 add it Do not forget to give out @ sense of randomness. » wld bey a] can be used Level correction gives alte contra: The back pat is completed by stipping it to wite onthe screen(HOPTER 2) DRAIN NATURAL Ons Haking’ 15 Making of wood E There are a few rules when drawing a tree. In hardwood and coniferous trees, leaves It is also important to draw carefully, as it varies depending on the way of painting and the season. » Broad-Jeaved tees are divided in thickness when branching -} ay be split (not completely equal in thickness). So tt looks like it has become thinner. Therefore, it becomes extremely thin before branching Itis J YS unnatural o do [Link] addition, when branching The first ‘wo minutes, so all the same way of spitting f you ere ait member ofa group, then you willbe diidedinthe same wey.» cifers are needle-like o pole Aso, a the overall shape, hardwood shouldbe horizontal confers have the property o spreading and conifers have te propery o sretching staight and upwards, so the cre becomes a tee shape like anyone else There are many Because hardood and coniferous tees change eccoding tothe season, tis necessary to separate the drawing Especialy in euturm and winter The «florence is [Link] dforence offen comes out in deciduous broad eared res, andin Japan itleaves autumn eaves in winter and leaves fal coniferous trees There are many evergreen tees, nd ther are few deciduous eaves ha fl in euturm leaves or drop eaves el tance Autumn is wide with = ‘autumn leaves Leef trees are conspicuous, and in winter, confers with leaves are offen noticeable. @:: ‘and coniferous trees have differences in leaves as you can see from the letters. Broadleaf is 1 leaf is wide and large the flow of drawing a tree, of course, ist ©: it's not absolutely the right way to draw.) No, but first ofall the whole sihouette Draw b in a shade colori this case, depending on the eye level > Pease rote that there are some places that appear to be ¢ bulging. Do not use itwhen you draw e lef, you draw one by ®t cone, Well think right n 3D lke a bunch, sun hit | wil craw only 3 the place where | am dong itand then, The upper leaves cast, a shadow on the lower leaves Do not forget the image. The trunk is covered with a shadow of a leaf Draw in dark colors f that have been taken, brighten by surlight through the trees, < lc. think that itis efcient to craw ano add where it becomes, Cumps ofleaves J Shade colors 080| will draw the silhouette of the leaf with the color of the shadow of the leaf. For tall trees, the sihhouette is fine asin 8D on the right Because it often looks like a circle, this time it hes become a silhouette conscious of i. vw Soft and blurred brush It would \¢ just a little brighter, using | wil paint the [Link] bright itis not a direct ight, but a shadow. Itis 2 feeling such as the part that looks bright even in the middle. in another layer, we draw tree trunks and branches & You can do it. Wher asst treein the caytime = i can only hit the sun through the trees. D Make 2 bright place atthe pointI CHAPTER 2>) Outline each lef mass. dropper. And Il cover the leaves ove the color” cf the shadows, picking up the bright colors of tis a feeing tha! putit ‘[Link] stoke, one stoke, one stroke, one stoko, one stcke, one stroke, = one stoke, one stoke, one stroke. Its als rice, butit fakes time, so the brush ofthe leaves Make a brush and spray it with a random brush & I think that tis good to leave it on2 ‘The bight part othe al ity the suns kaw n anther ayer You can do » itAtts ime, the coniour canbe sof In addon, the trunk abo leaves he, part whe dark spots and let it blend in with the shade of the skin. ight will hardy rach Its aso used ase mesk to remo ‘The brush ofthe leaves is just cool as itis Just flat so craw dark» leaves and add shaclows It shows that itis falling, and t2 ives a thvee-dmensional ean, te larger clusters of eaves, t brighter ones, use is planar, leaves in on more step bright color You can aod a new ne to the drawing th branches (trunks) that can be seen rom between the eaves lis = finshed by acing he crewing . yonocomaticgee J Combination technique Forest landscape = the trees, the rocks, and the grass that weVe created so far E “How make cach pat Let's draw the scenery of the forest that can be seen in the sky # | ttee~Pagelige F Grount—Page 64 7 Planting @ First of all, i put the material | drew in Making so far We will tty. The back ofthe forest and the back ofthe planting is new and silhouetted | drew i-To bring out the silhouette ofthe tree firmly, Place itso that the pert of the cloud in the sky hits 7 | Rock—Paye Od 7 Bho hy Pago 3 Replicating trees, planting inthe back and clipping bear inthe back forest This isthe fist time ve ever seen tis app. The drection ofthe &] light by moving or cutting It is a natural state so that it does not look 3 funny. Grass | want to show the ground by placing the ground under \ layers Erase the gras layer only in pace 083wert ad gasand flowers vero iimgcingtogotohebak X 1 tout Youcan aso: as [Link] this completed by ity coveing the sky tue wit dean, 094 Draw shadows of rocks, res and grass by mutlicaton Bight inthe back of he ores | add itbecause here were fe parts Tees and forests inthe back wanted itle sense of distance, so l made alayer of wood anda layer) f forest | aided the air feling ofthe sty coor between the layers.artificial. Drawing things| Production of roads E Aroad that always comes out when you draw a [Link] the front material It is 3 also safe to have Perth if you want. Paint the color of he road with solid, | will put a touch in a new layer. F ican be [Link]'s the image on the right. k ‘The color has changed in part due to, construction, etc. itis a road partineedthis part. Not that there is even a slight difference. It looks5 natural when you lock ati. Brush AT Oy with a wide brush lke a fat brush & | will paint it Also: Photoshop Tho p ‘mateta of feather push inthe plus (Seepage 41) is aboresommended. |‘With grooves in a new layer = Fine holes are painted .\ You can use ittoo much. 5 | love tis game so much that cart alto play ital isalso mae thn as posse, = Yoana High for new layer and paint the lights You = ‘can do it is too bright. 5 and it becomes like metal So don't argue too much Apply moderately. Paper texture overlays » ‘Thisis the best app Ihave fever used. (This is 12%).A? The sufalt partis completed 087Next, we will create a white line. this time I will introduce a slightly easier way. fist of all, paper. & Tonal correction of texture contrast level You can make it stronger with the correction. 3 triangles at input level The § left and right (images A and B below) are placedin the middle. + Tne contrast becomes stronger as shown inthe lower right, Pests Cistim a lo 8 Obama RS - Inputievel (lt 2 seotte 7 (ips oa — = 4 ° as ‘When the mode is "screen", black ” iThe part becomes invisible, only the white + part It will be displayed then place the white line Select the part you want to select and erase the rest. Or create a mask to hide [Link] that, Leam more about layer masks on page 51 Itis also known ! as ‘the " or the’ ‘Add a white in or sorepeit wit an eraser You can adjust = the shape by prssing the buton. 088ppseeteouin i tee ie evel te ere & try louse it and audit. All Ray Copy and Sa” merge the files into one. When you apply Contour detection, it looks lke the right You can easily 5 take the outline of that image to the right (image (The image is the one with reduced saturation.) » ~~ Outline The white line porton of the detected layer + (= than the eraser tool, etc. Multiply by 8 and put it on top (this time 34), The material is completed wth the above | will actually use the material. Material all ¢ hhoose all of them to create a free transform. + Weuilarine bdo, hare faite ee then back § to the Clean oro Putte color ofthe sty nthe barley Itgives depth. Noarandwete going £ tohavea tee in the middle oft. its abo a good ea to ty to cast a shadow 3 overt imay be interesting, The font maierial ofthe road isa wal, etc.? Thisis a great app, but | cant use 3 itarymore. lis useful in various, siuaons Pease conlact usta &. Youean it