This way of working has always been fun for me. I just lay down a black blob and start carving away until I find a pleasing silhouette that encompasses positive and negative shapes. Then I just go from there.
Many professional artists offer valuable tips that can be beneficial, yet few divulge the specific one or two elements capable of triggering a significant shift in mindset and substantially enhancing an artists capabilities. This video, precisely addresses these transformative aspects. Therefore, I extend my gratitude to you for sharing this insightful content.
You're absolutely right I've recently been trying to really study art and what is becomes clear very rapidly is that shape is everything, our brains will do the rest if you let them. I'm finally beginning to understand that art is rarely about making a thing, but communicating it instead
This is the same argument that goes on forever yet no youtuber actually talks about it. When you mentioned NOT converting your grayscale layer/image to color you stated that you're left with muddy colors... it's better to adjustment layer>gradient map your grayscale and lower the opacity on it a bit, then with a new multiple layer over that you can brighten and add color back to it, thus eliminating the muddiness. Also using gradient maps is good for concepts because you can generate any combination of colors you want that may bring inspiration and retain additional colors while your painting. This method is super simple yet people keep thinking its insanely tough
@@fowlerillus I recently learned about it and I haven't seen a ton of people using this method- feels like it's a hidden secret almost lol. Love the video btw
Was up all night thinking about shapes, then I saw this video. Realized I've been stuck in line mode for too long. As always, beautifully succinct, and much needed. Thanks Hardy!
Preference for shape comes down to the anatomy of the eyes. Ours photoreceptors consist of rods and cones. Cones have the ability to see color, but the majority of the eye consists of rods which can only see black and white and are very good at detecting motion and shapes. It is a formula that has kept humans safe from predators during evolution. Love the videos!
I've gravitated towards this method, with efficiency being top of my list of skills to develop with my environments. Start as big and loose as possible, sketch some shapes, carve 'em down, and then gradually get more detailed on the places I want the viewers to focus on while leaving things like distant or less important objects as mostly their silhouettes. Enjoying this process and slowly getting faster!
That's awesome Nick. That's exactly the idea and it can really save you from getting stuck in a corner. I'd love to see some of your progress whenever you have a minute.
I once did this technique on accident, and will never be able to go back to lines from the getgo. It's so ridiculously powerful and fun, it probably should be part of the fundamentals.
That's awesome! I hope you saved the first accident :) I love keeping those little discoveries. I agree, this is such a powerful fundamental concept that seems under used.
Totally agree with everything here. It's also worth noting that shape design isn't dependent on sculpt workflows. I also think that way when sketching in line- using primitive graphic shapes instead of noodling with structure. I do agree that for most people sculpting is better but just putting it out there. I find that people run into trouble with greyscale to color because of pretty much what you mentioned - it requires planning at all stages. The values must be handled so that the eventual layer modes can stick to them. People so often treat it as a stage which starts when values are done when it's actually a stage which is present from the first stroke. If anyone reading this is struggling with it, keep in mind that the literal "color" layer mode has almost zero effect on value. So it respects your structure but also can't effectively tone your darkest darks and lightest lights.. So paint with a defence to mids (3 to 8 values).. and you'll always be able to color with the Color Layer mode and you'll always have the value range left over for other layer modes to push final contrast. Anyway. Great video 👍
This reminds me almost 100 % of a 1982 Arcade game called "Joust" ... nice design! Really brings life and scale to the pixelated concept from back then.
This is by far my favorite way to paint as well. I stumbled upon doing it by doing creativity exercises with a bunch of line scribbles and identifying shape groups to creatively imagine and develop things out of the chaos. That was great fun when it was just thin lines with a bunch of odd geometry to see inside but then one day I grabbed a larger head brush and did the scribbles and ended up creating an amorphous blob and something about it stood out immediately. I lasso'd it and rotated it a few times till I could see what it was my mind was holding onto and ended up making a really cool, albeit silly, morbidly obese astronaut in a style I had never drawn in before. I have since tried to make more of my creativity exercises shapes and blobs, not just lines, to push myself to see silhouettes and 3D objects, not just wireframes.
THIS is the video I have needed for a long time. I recently did a piece for a sci-fi submersible and really thought some other method instead of the meticulous lines and intense detail of my normal work would render a better result. I did something similar for it and it was ok, but sucked lol. This video has given me far better direction and will change my workflow.
That's great to hear! I'm so glad this was helpful. Yeah, it's wild how much you can cheat with detail. Suggest more than show and it ends up looking better and happening faster. Detail is so weird and I find that I often like a painting less and less the more detail that I add which seems so backwards.
Hey Hardy! Been a while, but back when I was in a hard place with work and life you sent me a personal video of encouragement and I've not forgotten. I'm in a good place now and have started a UA-cam channel and just getting back to my passion, art! I will be doing your course at some point and of course pointing this whole community your way! Not sure when in future, but at some point for sure. You are a great man and amazing artist. Thank you!!
Wow! So good to hear from you and this absolutely makes my day. Thank you so much for letting me know the good news and for your kind words. I'm so glad to hear that things are going so well. Keep climbing higher - good luck and stay in touch!
Oh thanks! I am a big believe in the 80/20 rule - make something that is 80% familiar but 20% new and weird. That's definitely what is going on here - 80% of it is just a bird but then I take some sharp turns and try to make it interesting and otherworldly. Super fun :)
I do that to validate my design, to see if the global shape is working, but sometimes i feel more comfortable to start sketching with a line art. Example, when you want to make a dynamic posing, with depth, elements in front of other elements, it's complicated to start with flat shapes ! But whatever, your result is so amazing !
I know exactly what you mean - that is one big shortcoming of silhouettes is that you have to imagine interior elements without seeing them until much later in the process. Designs with lots of near/far layering can be difficult to envision. Great point and I'm glad you have a hybrid approach that works for you. Same deal here, I often jump between work flows depending on the situation. Thanks!
So this is why I often see you render your silhouettes using shades of orange, its the same process of working up your values in grayscale but it looks better when you change the hue of the orange instead of adding layers of color on top of the grayscale?
Yes, very similar. Honestly the orange is pretty arbitrary but I like how it pops against the dark cyan base. But the core concepts are the same, sculpting with value and trying to find interesting shapes
I dabbled in this type of art and I immediately shied away and went back to lineart, but while I am more comfortable with lineart, it is frustrating and feels restrictive, causing me to obsess with lines when I just want to start coloring and shading. It's a dilemma for me, but maybe it's because I lack skill in shapes. I would love to know more of this process as it just seems so much more liberating.
I really identify with this and it has taken a long time for me to be comfortable with shape design. I love line art and it was definitely where I was most comfortable too. You nailed it though - this was extremely liberating for me (which is exactly what I needed). I found myself getting stuck a lot and getting bogged down in detail and rendering rather than just focusing on how the design will read when it's done. Designing directly with shapes let's you always keep that at the center of your attention. I hope this works for you!
Hey Hardy... first of all thank you for all the knowledge you share with us, that's great. I believe the video you are referring to was created and published three years ago by Feng Zhu, episode 107 :) about details and the power of strong shapes and silhouettes.
Thank you! I should have remembered that it was an FZD video - that channel really changed my life. I appreciate it! I'll track it down and add the link.
I'm out of pencil and pen line work and started digital drawing and painting this year. Watching your work I've been trying shape carving in digital from the beginning and it's really starting to pay of. Takes a while to get used to it, but got some amazing results.
That's awesome! I'm glad it's working. It definitely takes some getting used to and I'll never abandon line art, but this really does seem to have some advantages.
That's so cool! I love hearing about overlap of visual and musical art process. If you have time, can you describe how this would apply to composing? I'm definitely curious
Yes for sure =] Everyone would have a different workflow but I think there are elements that could be mapped out in advance to build the structure of the track first. Layer 1 as an example - main bass/synth, drums and arrangement. Then layer 2 more synth or chords/melody. 3 start building it out with variation. I would compare mixing to line work as it is all the fine details that take time to shape and get right. If the first layers need to be changed, then the whole mix needs to be changed as well. Getting the structure right in the beginning should save a lot of time. @@fowlerillus
I honestly just.. Explanations like this make me wanna tear up sometimes. So easily explained and so vividly executed. Well done, you've earned a new sub from me, can't wait to see more of your work.
Another great vid! I started following/commenting about 18 months ago. In that time, I sort of developed a similar workflow which helped me out a great deal to transition from looking at pixels to looking at my entire piece for composition, values, etc. I am still fairly new and exploring/finding the style that best suit my creative thinking. One thing I will be trying soon is a pen-drawing style where most of the concept will be done with sketch-like strokes and I'll finish it with a water-color paint style. All of my progress is thanks to your vids. Super thanks! PS - I'll see if I can share some of my work on your discord. Cheers -
That's awesome! I'm so glad this has been helpful for you. The ink/watercolor style sounds beautiful and I'd love to try that in the future. Please do share with the DPS Discord and tag me whenever you post it.
Something I had somewhat a good experience with in relation to greyscale, was to begin and go halfway of the piece with it, then convert to color with gradient maps and finish it in color. But yeah, first time I've heard of a similar process was in your DPS painting faces videos, I've yet to try it, because doing it via lines and linearts started to become a "chore grind" for me
Gradient maps are an awesome way to avoid many issues with converting grayscale to color - great call. Chore grind is the perfect term - I know that feeling so well - it's like you have detailed yourself into a corner and adding time and effort only seem to make it worse rather than better. This has been such a great answer :)
Awesome. I love the philosophy but ALSO I fantasize about joust and just always wanted an open world joust game. Something about having a giant bird companion just resonates….like Chocobos. The character on this is very cool. A joy to watch
noob question.. at 03:18 i see you work with a brush when you draw givin a rectangular outline of the brushhead shape but when you paint what comes out is much smaller then the preview of the head i see moving on top... how /why is that and how can you draw if your preview of the brushhead is bigger then what you are painting in detail?
Great question - I have pen pressure set to size jitter so a light tough makes a small mark and a heavy press makes a large mark. The brush cursor doesn't change though so it looks like mark coming out doesn't match. If you want to try this, just hit F5 to bring up your brush editor and go to shape dynamics > size jitter and set it to pen pressure. I hope that clarifies it.
Your comment about keeping things loose really stuck with me. I have a piece that has been making me very emotional because of the background of the subject, and I've been trying to find a way to go back to it. I stopped working on it for months because I would get so wrapped up in making it perfect even though it's not even close to being done yet. Since I've already started it, it's a little late to try this tonal technique, but do you have any other techniques or tips that could help to keep me loose when it comes to my expectations? Thank you so much for this video! I'm definitely going to try it soon
I identify with this so much. I get stuck in a rut when I start to detail excessively and it weirdly seems to make my paintings worse rather than better - so weird. I have found that (exactly as you've said) looseness and expressiveness are a great way to balance that out. I would recommend saving your painting and creating a new version or just a merged layer and just smudge the hell out of it. Buff the edges or just rake lines through the whole thing - experiment with "messing it up" especially in parts that are not important. If we save detail for the focal points and let the rest become brushy and sit back - it has this amazing focusing effect and takes our painting out of the uncanny valley.
I've been thinking about that. There are definitely some challenges since the ease of reworking and transforming things digitally are pretty key to the process. I suppose doing very light washes or super soft pencil sketch lines to hammer out main shapes and then fill them in once you like them could work. If you figure something out that works well, please let me know!
Thank you! Such great music - right? This came from Epidemic Sound which is just a bottomless pit of great moody stuff. This track is Oceanic Contemplation by Mandala Dreams. I'll definitely be checking on that artist for my next video
Whats funny is that I started doing this exercise only maybe 1 or 2 days before your video and I found it very hard... I'll give it a new try but I was wondering, before doing the shape do you think of what you want ? Do you think oh for this one i'm going to do a bird or a turtle ? Or do you just throw some lines and figure it out ? Maybe people do both and it changes nothing. I don't know why, i can't manage to find something like an animal or a 3D for out of my shape !! It's making me go nuts on this exercise !!! The video encouraged me a little bit tho, thanks !
There is definitely a plan and an idea and even a good bit of research/inspiration surfing before I start making shapes but it is also a pretty organic process - like you plan for things to sort of happen magically. Those Bob Ross "happy accidents" :) - so kind of both.
So I really love the whole grayscale workflow...until like you said I need to color it. I really like how I can just stay in grayscale en just kinda zone out and render it out, but then I need to add color and its just gets messy. I know artist who do it really well (one that comes to mind is Biboun) and I still want the cartoony line art kinda look, but I don't want to redo everything twice because this really just feels like the workflow is not efficient at all anymore. Anyway to remedy this? Or should I just stick to using the linework, colorblocking method?
I totally agree with this and I mostly avoid trying to colorize grayscale art for all of the reasons that you listed - the colors end up looking muddy and you end up having to do the same work twice. I think Marco Bucci's video on this topic is my favorite explanation. This one was really just meant to show the tonal sketching method but I added some color at the end for fun. I would take a look at my most recent video about emulating art gods for a look at how I would go about a proper color painting - I don't really do the line art and block in method but I have something that you might find useful. Thanks for the comment - agree 100%!
I have one question, why sometimes do u use red color to start adding volume to your drawings? Its just because do you prefer red color or maybe It is for something else?
It's pretty random and arbitrary but I just really like how the two colors interact. That reddish orange really vibrates against that dark cyan and I somehow feel like I can see the values in a very clear way. BUT, this is really just something I tried years ago for no real reason and it just stuck
Thank you! The idea that you can just throw a coat of paint without thought of saturation, temperature, or material seems ridiculous. Painting looks great.
Thank you! I totally cheated here and just made it a duotone but it weirdly seems to work. I am definitely inspired by Pascale Blanche's colors - his stuff usually boils down to two colors and he's really fond of this intense blend of cyan and orange - super trippy and beautiful.
Hi! Sound designer here, trying to think about how this workflow can be translate into audio terms. Can you elaborate on what you mean by internal shapes? I'm guessing it is something like all the shapes that are inside of those "main shapes", that you established in the first layer?
That's an interesting question. I suppose those silhouette shapes could be sort of a frame work, the base elements that establish the sound and rhythm you're going for and the internal shapes are the detail elements that exist within that frame work. I'm a very novice musician with zero training though - so this is entirely speculation.
These are a set that I made but they are available for free in our discord. You can join here www.digitalpaintingstudio.com/community and the brushes are in Information > Freebies. Enjoy!
Haha, glad you like the brushes - I promise, no tricks intended here. Feel free to grab the brushes and leave the discord if you're not enjoying it. Glad you liked the video! :)
Yes exactly. I was actually using an eraser for that part - removing those shapes. That was probably a mistake and I should have worked non destructively but oh well. I hope that is the answer you were looking for.
Hi! iPads are great but I would definitely be using a pressure sensitive stylus. The setup I use is a desktop iMac and a Wacom Intuos pro. I love it, but iPads with apple pencils are great for convenience - really you can get great results with any number of setups - it's all about what is comfortable for you so that you will stay exciting to keep coming back to your art.
Hi Hardy, question for you.. When i start with drawing anatomy its much easier, when i paint shapes first, filling in the anatomy afterwards feels more challenging because you have to put real objects into concepty shapes that may have wrong proportions.. how do you solve this?
Great question - characters are a bit of a different challenge (but not entirely). When designing a character, I still use this workflow BUT I start with line art of a basic figure pose. I block that in and then start designing clothing shapes on top of the figure as though it were a mannequin. It lets you make sure that you have an anatomically and proportionally correct human at the core of your character, but all of the freedom and looseness of designing directly with shapes. The first few minutes of this video really illustrate this process ua-cam.com/video/a5fPt3VW7SY/v-deo.html
I tend to struggle starting with solid shapes for some reason. When I see silhouettes, I can recognize them usually but creating silhouettes just feels weird and is hard for me to process. Another question is, how would you go about doing this traditionally. After a certain point, it's hard to make more adjustments.
Yes I can see how this could be significantly harder with traditional media since transforming and stretching the shapes is such a central part of the process. I'm a pretty mediocre traditional artist so I'm not sure if I will be much help but perhaps you could do your initial shape explorations as extremely light washes or tone or very transparent paints. That way you aren't super committed to anything and you are free to change things before committing to a dark silhouette. Total guess though!
I'm an old man trying to learn to draw, and I've gone the hard way, black ink 😂 Lately I'm doing that, silhouette with light gray and then adding darker and darker tones on top It help me work on ideas that I would be scared to draw with lines
That's a great question - I can't say it was really any one book that helped me with shape design stuff. I would credit Feng Zhu's UA-cam channel for my early understanding of concept art but after that it has mostly just been experience and a lot of trial and error.
Definitely sped up! I'd say this one was about an hour and a half all in. Sorry if that wasn't clear - all of my videos are sped up just so they don't get super long or boring.
I love that observation. It was not super intentional but I totally see it now. I experimented a bit with the rider having huge feathers around his shoulders like a headdress but I bailed on it. I was thinking of lots of cultural references where riders sort of worshipped the animals that they ride with symbols. Thanks for the comment though - so glad you saw that :)
One note thing I do find can help with greyscale to colour is fiddling around with the colour values on the greyscale base. Not sure what its called in PS since I've been sticking to Clip Studio Paint, but its where you adjust the darks, mids, and lights with the 3 colour channels. Just makes it way more lively and can fix the pastel colours. Tone adjusting also helps! Sean Sketches explains it better than me I think, and you get a live demo too. ua-cam.com/video/j6stUmupwt8/v-deo.html&ab_channel=SeanSketches
Awesome! @@fowlerillus Unfortunately I'm a bit older, so when I was a kid it was a state of the art game for a minute. We put many quarters into that Joust machine, among others. *Beautifully done btw
I started my art career with this method. Then, I was curious to start doing linework, inking and so forth, to learn the style of comics. Some people are fast and amazing at it (speed wasn't my concern)... But, I'm not going to lie, it's dreadful to me. Everyone is different and for me, shape design and carving away at it just comes so natural and fun. Linework and the comic style is just "work" for me, and quite boring to be honest.
Line art is super hard for me too - there is nowhere to hide. Everything must be shown fully which requires a great deal of calculation in every step. That's exactly what I love about shape carving - it lets you imply so much rather than having to show everything.
Right on, I love Joust. I definitely didn't mean to suggest that I invented the idea of a guy riding a giant bird (I'd bet that the creators of Joust didn't invent it either). This is just my take on a fun general concept.
That's really cool but should be honest. People with low and middle skills can't simply create an anatomically correct and readable shape without construction, i.e. it's a good method but requires a "dedication" first. Unfortunately I'm not ready for this.
Ah gotcha. Yes, those shapes certainly don't just appear out of nowhere, there was a bit of research and quite a lot of experience with shape design involved so I take your point. Glad you found the approach somewhat helpful though. Best wishes to you with your artwork :)
I feel like it going to be a waste of time learning concept art or any kind of drawing ability since AI will override it someday. It's really depressing.
Yeah I hear you - I think it's going to be a weird decade for humanity. FWIW, it has been about a year and half since all of the AI stuff has been out there and the world hasn't ended for artists. I'm still busy as ever and (way more importantly) art careers are still launching - artists are still getting those entry level jobs. So, while I have no idea where all of this is headed or how much of the mind boggling predictions are to be believed - we're still here, art is still awesome and sought after and it is still deeply meaningful to truly create. Sorry to hear it has you down - hoping for brighter days ahead for you and your art. Cheers.
How can this be concept art? What is the concept? You are going to produce something of it's liking or create a new bird species? Seriously. What this is isn't even concept art, concept art does not exist concept design does exist. But what this is is digital graphic art.
Sounds like we have slightly different definitions but I guess I think of concept art as a way to relatively quickly visually explore an idea. So in this case if we were given a brief calling for a bird rider (and perhaps some mood boards describing the world these characters inhabit), what could we quickly produce to help bring that idea and that world to life. I totally agree though that there may be some strict definitions of concept art or concept design that this does not meet. I hope you have some use for the workflow regardless of the application. Cheers
I would say concept art - in that it is quick, iterative and meant to explore an idea. But there is always plenty of overlap when defining categories of art.
That's a sweet looking painting! You talking about converting grayscale to color reminded me of a video by Marc Brunet. He goes from grayscale, and I tried his method and I haven't incorporated it yet, since it's a bit confusing for me, but other more experienced peeps might like it. ua-cam.com/video/3OQeRLwipi4/v-deo.html But thanks for focusing my mind back on shape language. Looking at my recent stuff, I could definitely start working on this.
Thank you! I'll post Marc's link in the description but I agree, there is definitely a place for this and his stuff is always really instructive. I'm glad you liked the video - thanks again!
This way of working has always been fun for me. I just lay down a black blob and start carving away until I find a pleasing silhouette that encompasses positive and negative shapes. Then I just go from there.
Totally! I love how free and loose this can be. It just lets you dive right in and gets your brain out of the way.
Many professional artists offer valuable tips that can be beneficial, yet few divulge the specific one or two elements capable of triggering a significant shift in mindset and substantially enhancing an artists capabilities.
This video, precisely addresses these transformative aspects. Therefore, I extend my gratitude to you for sharing this insightful content.
That's awesome to hear! I'm so glad you liked it.
You're absolutely right
I've recently been trying to really study art and what is becomes clear very rapidly is that shape is everything, our brains will do the rest if you let them. I'm finally beginning to understand that art is rarely about making a thing, but communicating it instead
I'm so glad to hear it. Very well put!
This is the same argument that goes on forever yet no youtuber actually talks about it. When you mentioned NOT converting your grayscale layer/image to color you stated that you're left with muddy colors... it's better to adjustment layer>gradient map your grayscale and lower the opacity on it a bit, then with a new multiple layer over that you can brighten and add color back to it, thus eliminating the muddiness. Also using gradient maps is good for concepts because you can generate any combination of colors you want that may bring inspiration and retain additional colors while your painting. This method is super simple yet people keep thinking its insanely tough
Great call and there are definitely ways to do this well and artists out there getting beautiful results with this.
True, good artists who use greyscale have ways around the muddiness. Marc Brunet talks about gradient map coloring quite often.
@@fowlerillus I recently learned about it and I haven't seen a ton of people using this method- feels like it's a hidden secret almost lol. Love the video btw
Are there any videos on this? I'd like to watch an example to understand
I REALLY enjoyed watching this process and love the final product- stellar video
Thanks Adam! Great to hear from you and I really appreciate it. High praise from such a legendary artist and teacher.
Please never stop making videos
Just getting warmed up :)
Was up all night thinking about shapes, then I saw this video. Realized I've been stuck in line mode for too long. As always, beautifully succinct, and much needed. Thanks Hardy!
That's awesome Eben. Your shape designs are insane - your tonal environments are still some of the best I've ever seen.
Switching to forms and shapes has been a god-send for me as someone with (I'm pretty sure) aphantasia.
Preference for shape comes down to the anatomy of the eyes. Ours photoreceptors consist of rods and cones. Cones have the ability to see color, but the majority of the eye consists of rods which can only see black and white and are very good at detecting motion and shapes. It is a formula that has kept humans safe from predators during evolution. Love the videos!
This is awesome! Thanks for the science to back this up - I'm definitely going to drop that fact whenever I demo this in the future. Thanks :)
I've gravitated towards this method, with efficiency being top of my list of skills to develop with my environments. Start as big and loose as possible, sketch some shapes, carve 'em down, and then gradually get more detailed on the places I want the viewers to focus on while leaving things like distant or less important objects as mostly their silhouettes. Enjoying this process and slowly getting faster!
That's awesome Nick. That's exactly the idea and it can really save you from getting stuck in a corner. I'd love to see some of your progress whenever you have a minute.
I think you just saved me from giving up on drawing completely. Wow!!! Thank you!!!
That's awesome to hear. Definitely don't give up - too many cool things to draw :) Good luck!
I once did this technique on accident, and will never be able to go back to lines from the getgo. It's so ridiculously powerful and fun, it probably should be part of the fundamentals.
That's awesome! I hope you saved the first accident :) I love keeping those little discoveries. I agree, this is such a powerful fundamental concept that seems under used.
dope ! really super practical tips and exactly what i needed to get out of my comfort zone !
Glad it was helpful!
Totally agree with everything here. It's also worth noting that shape design isn't dependent on sculpt workflows. I also think that way when sketching in line- using primitive graphic shapes instead of noodling with structure. I do agree that for most people sculpting is better but just putting it out there.
I find that people run into trouble with greyscale to color because of pretty much what you mentioned - it requires planning at all stages. The values must be handled so that the eventual layer modes can stick to them. People so often treat it as a stage which starts when values are done when it's actually a stage which is present from the first stroke. If anyone reading this is struggling with it, keep in mind that the literal "color" layer mode has almost zero effect on value. So it respects your structure but also can't effectively tone your darkest darks and lightest lights.. So paint with a defence to mids (3 to 8 values).. and you'll always be able to color with the Color Layer mode and you'll always have the value range left over for other layer modes to push final contrast.
Anyway. Great video 👍
Awesome input! Thanks for the details on your work flow and great point about the color layer mode!
This is awesome. Really makes me wanna pick up my stylus and start sketching like this.
That's awesome - exactly what I was hoping with this video :)
Love your insights and reasonings. Been out of the game a whie and it is inspirational.
Thanks :) I really appreciate that.
This reminds me almost 100 % of a 1982 Arcade game called "Joust" ... nice design! Really brings life and scale to the pixelated concept from back then.
Totally! I loved that game. I wish it would get a reboot :)
This is by far my favorite way to paint as well. I stumbled upon doing it by doing creativity exercises with a bunch of line scribbles and identifying shape groups to creatively imagine and develop things out of the chaos. That was great fun when it was just thin lines with a bunch of odd geometry to see inside but then one day I grabbed a larger head brush and did the scribbles and ended up creating an amorphous blob and something about it stood out immediately. I lasso'd it and rotated it a few times till I could see what it was my mind was holding onto and ended up making a really cool, albeit silly, morbidly obese astronaut in a style I had never drawn in before. I have since tried to make more of my creativity exercises shapes and blobs, not just lines, to push myself to see silhouettes and 3D objects, not just wireframes.
That's awesome! Those free association types of exercise can be really fun and it sounds like you have developed a great workflow here :)
this is realllllly cool! i friggin love it. would love to see a world where this exists
Thanks! I'm so glad to hear that.
THIS is the video I have needed for a long time. I recently did a piece for a sci-fi submersible and really thought some other method instead of the meticulous lines and intense detail of my normal work would render a better result. I did something similar for it and it was ok, but sucked lol. This video has given me far better direction and will change my workflow.
That's great to hear! I'm so glad this was helpful. Yeah, it's wild how much you can cheat with detail. Suggest more than show and it ends up looking better and happening faster. Detail is so weird and I find that I often like a painting less and less the more detail that I add which seems so backwards.
Love ur drawing. Thank you so much.
Thank you!
Hey Hardy! Been a while, but back when I was in a hard place with work and life you sent me a personal video of encouragement and I've not forgotten. I'm in a good place now and have started a UA-cam channel and just getting back to my passion, art! I will be doing your course at some point and of course pointing this whole community your way! Not sure when in future, but at some point for sure. You are a great man and amazing artist. Thank you!!
Wow! So good to hear from you and this absolutely makes my day. Thank you so much for letting me know the good news and for your kind words. I'm so glad to hear that things are going so well. Keep climbing higher - good luck and stay in touch!
Great video! Would love to see more of this technique 😊
Awesome to hear! I'll make sure to do more of these!
This Channel is pure gold! Thank you for the daily creative fuel!
That's so awesome. Thanks - glad you're enjoying it
It feels like your designs are inspired by a creature that doesn't exist like you made it up. Great job
Oh thanks! I am a big believe in the 80/20 rule - make something that is 80% familiar but 20% new and weird. That's definitely what is going on here - 80% of it is just a bird but then I take some sharp turns and try to make it interesting and otherworldly. Super fun :)
I do that to validate my design, to see if the global shape is working, but sometimes i feel more comfortable to start sketching with a line art. Example, when you want to make a dynamic posing, with depth, elements in front of other elements, it's complicated to start with flat shapes ! But whatever, your result is so amazing !
I know exactly what you mean - that is one big shortcoming of silhouettes is that you have to imagine interior elements without seeing them until much later in the process. Designs with lots of near/far layering can be difficult to envision. Great point and I'm glad you have a hybrid approach that works for you. Same deal here, I often jump between work flows depending on the situation. Thanks!
Wow, my friend, this design of yours was great... I love all your designs👌
Thanks again - so kind of you.
I love your artworks ❤️
Can you please make a video about how you use layers 🙏🏻🌹
Thank you! Sure, I'd be happy to. Are you referring to the blending modes that I used in this piece or just layers in general?
So this is why I often see you render your silhouettes using shades of orange, its the same process of working up your values in grayscale but it looks better when you change the hue of the orange instead of adding layers of color on top of the grayscale?
Yes, very similar. Honestly the orange is pretty arbitrary but I like how it pops against the dark cyan base. But the core concepts are the same, sculpting with value and trying to find interesting shapes
I dabbled in this type of art and I immediately shied away and went back to lineart, but while I am more comfortable with lineart, it is frustrating and feels restrictive, causing me to obsess with lines when I just want to start coloring and shading. It's a dilemma for me, but maybe it's because I lack skill in shapes. I would love to know more of this process as it just seems so much more liberating.
I really identify with this and it has taken a long time for me to be comfortable with shape design. I love line art and it was definitely where I was most comfortable too. You nailed it though - this was extremely liberating for me (which is exactly what I needed). I found myself getting stuck a lot and getting bogged down in detail and rendering rather than just focusing on how the design will read when it's done. Designing directly with shapes let's you always keep that at the center of your attention. I hope this works for you!
Hey Hardy... first of all thank you for all the knowledge you share with us, that's great. I believe the video you are referring to was created and published three years ago by Feng Zhu, episode 107 :) about details and the power of strong shapes and silhouettes.
Thank you! I should have remembered that it was an FZD video - that channel really changed my life. I appreciate it! I'll track it down and add the link.
sweet technique and very helpful video!
Thank you!
Thank you! I really enjoy your content. Just got through your character squad videos and now I’m here :3
That's awesome - welcome!
I'm out of pencil and pen line work and started digital drawing and painting this year. Watching your work I've been trying shape carving in digital from the beginning and it's really starting to pay of. Takes a while to get used to it, but got some amazing results.
That's awesome! I'm glad it's working. It definitely takes some getting used to and I'll never abandon line art, but this really does seem to have some advantages.
Really cool style, I am going to try this approach to my music projects as well.
That's so cool! I love hearing about overlap of visual and musical art process. If you have time, can you describe how this would apply to composing? I'm definitely curious
Yes for sure =] Everyone would have a different workflow but I think there are elements that could be mapped out in advance to build the structure of the track first. Layer 1 as an example - main bass/synth, drums and arrangement. Then layer 2 more synth or chords/melody. 3 start building it out with variation. I would compare mixing to line work as it is all the fine details that take time to shape and get right. If the first layers need to be changed, then the whole mix needs to be changed as well. Getting the structure right in the beginning should save a lot of time. @@fowlerillus
Amazing charater good work 👍
Thank you so much 😀
I honestly just.. Explanations like this make me wanna tear up sometimes. So easily explained and so vividly executed. Well done, you've earned a new sub from me, can't wait to see more of your work.
Wow, thank you so much. I really glad that this resonated for you. Welcome! And I'll definitely have more soon!
Great job. Thank you so much. Greetings
Thank you and hello there!
I love your work Hardy, it is so nice man !
Thank you so much. Super kind of you :)
Your works are amazing!
Thank you so much!
Another great vid!
I started following/commenting about 18 months ago. In that time, I sort of developed a similar workflow which helped me out a great deal to transition from looking at pixels to looking at my entire piece for composition, values, etc. I am still fairly new and exploring/finding the style that best suit my creative thinking. One thing I will be trying soon is a pen-drawing style where most of the concept will be done with sketch-like strokes and I'll finish it with a water-color paint style. All of my progress is thanks to your vids. Super thanks!
PS - I'll see if I can share some of my work on your discord.
Cheers -
That's awesome! I'm so glad this has been helpful for you. The ink/watercolor style sounds beautiful and I'd love to try that in the future. Please do share with the DPS Discord and tag me whenever you post it.
Amazing! thank You
Glad you liked it! I hope the process works well for you.
Brilliant! thank you for sharing.
Thanks! Glad you enjoyed it!
Would be cool to try to do this one in 3d.
Totally! Feel free to use this as the basis for a 3D project if you're up for it.
Something I had somewhat a good experience with in relation to greyscale, was to begin and go halfway of the piece with it, then convert to color with gradient maps and finish it in color.
But yeah, first time I've heard of a similar process was in your DPS painting faces videos, I've yet to try it, because doing it via lines and linearts started to become a "chore grind" for me
Gradient maps are an awesome way to avoid many issues with converting grayscale to color - great call. Chore grind is the perfect term - I know that feeling so well - it's like you have detailed yourself into a corner and adding time and effort only seem to make it worse rather than better. This has been such a great answer :)
Amazing, thank you for share your talent!!.
Thanks! I'm glad you liked it :)
Awesome. I love the philosophy but ALSO I fantasize about joust and just always wanted an open world joust game. Something about having a giant bird companion just resonates….like Chocobos. The character on this is very cool. A joy to watch
Thank you! Totally, I would love to play in this world. Riding a bird through some wasteland would be so cool
noob question.. at 03:18 i see you work with a brush when you draw givin a rectangular outline of the brushhead shape but when you paint what comes out is much smaller then the preview of the head i see moving on top... how /why is that and how can you draw if your preview of the brushhead is bigger then what you are painting in detail?
Great question - I have pen pressure set to size jitter so a light tough makes a small mark and a heavy press makes a large mark. The brush cursor doesn't change though so it looks like mark coming out doesn't match. If you want to try this, just hit F5 to bring up your brush editor and go to shape dynamics > size jitter and set it to pen pressure. I hope that clarifies it.
@@fowlerillus ahh tnx for explaining.
Your comment about keeping things loose really stuck with me. I have a piece that has been making me very emotional because of the background of the subject, and I've been trying to find a way to go back to it. I stopped working on it for months because I would get so wrapped up in making it perfect even though it's not even close to being done yet. Since I've already started it, it's a little late to try this tonal technique, but do you have any other techniques or tips that could help to keep me loose when it comes to my expectations? Thank you so much for this video! I'm definitely going to try it soon
I identify with this so much. I get stuck in a rut when I start to detail excessively and it weirdly seems to make my paintings worse rather than better - so weird. I have found that (exactly as you've said) looseness and expressiveness are a great way to balance that out. I would recommend saving your painting and creating a new version or just a merged layer and just smudge the hell out of it. Buff the edges or just rake lines through the whole thing - experiment with "messing it up" especially in parts that are not important. If we save detail for the focal points and let the rest become brushy and sit back - it has this amazing focusing effect and takes our painting out of the uncanny valley.
loved it!
Thank you! I'm so glad :)
Impressive as always Hardy. I would, love to have this kind of exercice / practice for the Workshop.
Very good to know! We'll get that on the schedule
I've got just one question ...
Why do you still use the LIGHT MODE in Photoshop ?
Great concept art by the way.
Haha, no particular reason. Just the way I'm used to and I just kind of stuck with it.
Wonder if this method translates well in traditional drawing 🤔 Got homework to do.. Thanks for this tut will try this today.
I've been thinking about that. There are definitely some challenges since the ease of reworking and transforming things digitally are pretty key to the process. I suppose doing very light washes or super soft pencil sketch lines to hammer out main shapes and then fill them in once you like them could work. If you figure something out that works well, please let me know!
Really astonishing artwork. Very impressive. What is the name of the piece of music used in the video btw ?
Thank you! Such great music - right? This came from Epidemic Sound which is just a bottomless pit of great moody stuff. This track is Oceanic Contemplation by Mandala Dreams. I'll definitely be checking on that artist for my next video
Beautiful!
Thank you! Cheers!
great stuff
Thank you! Glad you liked it.
So good! great video, I love sketching like this.
Awesome! Glad to hear it
what is this, I havn't seen such a beautiful art tutorial ever, let me check if you have more such cool vids so that I subscribe
Thanks! I'm glad you liked this one :)
Super cool concept! 🤩
Thanks! Glad you liked it.
thank you!!
My pleasure! Glad you liked it.
This drawing is so imaginative and creative Bravooo!
Thank you! :)
Reminds me of Myasaki's Master Yupa
Totally, same vibe. Thanks for watching.
Great video. Couldn't help notice your version of Photoshop.
Yeah I tend to be very slow to update versions :) Thanks for the reminder though - it is time!
Whats funny is that I started doing this exercise only maybe 1 or 2 days before your video and I found it very hard...
I'll give it a new try but I was wondering, before doing the shape do you think of what you want ? Do you think oh for this one i'm going to do a bird or a turtle ?
Or do you just throw some lines and figure it out ?
Maybe people do both and it changes nothing.
I don't know why, i can't manage to find something like an animal or a 3D for out of my shape !! It's making me go nuts on this exercise !!!
The video encouraged me a little bit tho, thanks !
There is definitely a plan and an idea and even a good bit of research/inspiration surfing before I start making shapes but it is also a pretty organic process - like you plan for things to sort of happen magically. Those Bob Ross "happy accidents" :) - so kind of both.
So I really love the whole grayscale workflow...until like you said I need to color it. I really like how I can just stay in grayscale en just kinda zone out and render it out, but then I need to add color and its just gets messy. I know artist who do it really well (one that comes to mind is Biboun) and I still want the cartoony line art kinda look, but I don't want to redo everything twice because this really just feels like the workflow is not efficient at all anymore. Anyway to remedy this? Or should I just stick to using the linework, colorblocking method?
I totally agree with this and I mostly avoid trying to colorize grayscale art for all of the reasons that you listed - the colors end up looking muddy and you end up having to do the same work twice. I think Marco Bucci's video on this topic is my favorite explanation. This one was really just meant to show the tonal sketching method but I added some color at the end for fun. I would take a look at my most recent video about emulating art gods for a look at how I would go about a proper color painting - I don't really do the line art and block in method but I have something that you might find useful. Thanks for the comment - agree 100%!
I have one question, why sometimes do u use red color to start adding volume to your drawings? Its just because do you prefer red color or maybe It is for something else?
It's pretty random and arbitrary but I just really like how the two colors interact. That reddish orange really vibrates against that dark cyan and I somehow feel like I can see the values in a very clear way. BUT, this is really just something I tried years ago for no real reason and it just stuck
oh, thank u for the reply, I'll try this in my next painting.@@fowlerillus
Thank you! The idea that you can just throw a coat of paint without thought of saturation, temperature, or material seems ridiculous. Painting looks great.
Thank you! I totally cheated here and just made it a duotone but it weirdly seems to work. I am definitely inspired by Pascale Blanche's colors - his stuff usually boils down to two colors and he's really fond of this intense blend of cyan and orange - super trippy and beautiful.
@@fowlerillus I totally see it.
Hi! Sound designer here, trying to think about how this workflow can be translate into audio terms.
Can you elaborate on what you mean by internal shapes?
I'm guessing it is something like all the shapes that are inside of those "main shapes", that you established in the first layer?
That's an interesting question. I suppose those silhouette shapes could be sort of a frame work, the base elements that establish the sound and rhythm you're going for and the internal shapes are the detail elements that exist within that frame work. I'm a very novice musician with zero training though - so this is entirely speculation.
What brushes are you using here please?
These are a set that I made but they are available for free in our discord. You can join here www.digitalpaintingstudio.com/community and the brushes are in Information > Freebies. Enjoy!
Free brushes was a good trick!
Painting technique is pretty good tho
Haha, glad you like the brushes - I promise, no tricks intended here. Feel free to grab the brushes and leave the discord if you're not enjoying it. Glad you liked the video! :)
Is that a round soft brush with low opacity and flow you use to give the initial gradient shading on your hard shapes?
Yes exactly. I was actually using an eraser for that part - removing those shapes. That was probably a mistake and I should have worked non destructively but oh well. I hope that is the answer you were looking for.
@@fowlerillusYou're a mountain. I appreciate you responding to my inquire.
Do you have a print shop? I like this and super helpful video
Thanks, glad you like it. I do sell a few prints on Artstation but I don't have this one included in that shop. I'll add it!
@@fowlerillus thank you :)
hey hardy i currently use a ipad for my digital art do you recommend changing to a stylus and pad thanks!
Hi! iPads are great but I would definitely be using a pressure sensitive stylus. The setup I use is a desktop iMac and a Wacom Intuos pro. I love it, but iPads with apple pencils are great for convenience - really you can get great results with any number of setups - it's all about what is comfortable for you so that you will stay exciting to keep coming back to your art.
Hi Hardy, question for you.. When i start with drawing anatomy its much easier, when i paint shapes first, filling in the anatomy afterwards feels more challenging because you have to put real objects into concepty shapes that may have wrong proportions.. how do you solve this?
Great question - characters are a bit of a different challenge (but not entirely). When designing a character, I still use this workflow BUT I start with line art of a basic figure pose. I block that in and then start designing clothing shapes on top of the figure as though it were a mannequin. It lets you make sure that you have an anatomically and proportionally correct human at the core of your character, but all of the freedom and looseness of designing directly with shapes. The first few minutes of this video really illustrate this process ua-cam.com/video/a5fPt3VW7SY/v-deo.html
@@fowlerillus thank you so much for the reply! I tried this workflow again last night and it was interesting I need to play with it more! cheers!
That's great! Good luck and reach out if I can help @@Blood_Rapture
I tend to struggle starting with solid shapes for some reason. When I see silhouettes, I can recognize them usually but creating silhouettes just feels weird and is hard for me to process. Another question is, how would you go about doing this traditionally. After a certain point, it's hard to make more adjustments.
Yes I can see how this could be significantly harder with traditional media since transforming and stretching the shapes is such a central part of the process. I'm a pretty mediocre traditional artist so I'm not sure if I will be much help but perhaps you could do your initial shape explorations as extremely light washes or tone or very transparent paints. That way you aren't super committed to anything and you are free to change things before committing to a dark silhouette. Total guess though!
I'm an old man trying to learn to draw, and I've gone the hard way, black ink 😂
Lately I'm doing that, silhouette with light gray and then adding darker and darker tones on top
It help me work on ideas that I would be scared to draw with lines
do you have any books you read to achieve this work?
That's a great question - I can't say it was really any one book that helped me with shape design stuff. I would credit Feng Zhu's UA-cam channel for my early understanding of concept art but after that it has mostly just been experience and a lot of trial and error.
Question - did you do this in 13 minutes? Or it was speed up?
Definitely sped up! I'd say this one was about an hour and a half all in. Sorry if that wasn't clear - all of my videos are sped up just so they don't get super long or boring.
@@fowlerillus 1.5 for such result it's wonderful
9:29 blink!
Haha, I had to check. Love that :)
"I'm totally cheating here..."
If you ain't cheating, you ain't trying hard enough. 😉
I love that :) Thanks.
I like how the guy on the bird is also a bird. A parrot with a black beak. Was it intentional?
I love that observation. It was not super intentional but I totally see it now. I experimented a bit with the rider having huge feathers around his shoulders like a headdress but I bailed on it. I was thinking of lots of cultural references where riders sort of worshipped the animals that they ride with symbols. Thanks for the comment though - so glad you saw that :)
One note thing I do find can help with greyscale to colour is fiddling around with the colour values on the greyscale base. Not sure what its called in PS since I've been sticking to Clip Studio Paint, but its where you adjust the darks, mids, and lights with the 3 colour channels. Just makes it way more lively and can fix the pastel colours. Tone adjusting also helps!
Sean Sketches explains it better than me I think, and you get a live demo too. ua-cam.com/video/j6stUmupwt8/v-deo.html&ab_channel=SeanSketches
Awesome tips and thanks for the link!
😮🙌🏾👏🏾
Thanks!
Joust!
Totally! I wonder if that was the first video game I ever played. I had it on this ancient computer when I was a kid. I love that game :)
Awesome! @@fowlerillus Unfortunately I'm a bit older, so when I was a kid it was a state of the art game for a minute. We put many quarters into that Joust machine, among others. *Beautifully done btw
Wait, is that photoshop CS ?
Yes, it sure is. I'm using CS 2021 for this one.
@@fowlerillus is that 1-time fees or adobe sub ?
yeah man, a example comes in to mind.... whos that pokemon lol ...
Haha. Nailed it :)
I started my art career with this method. Then, I was curious to start doing linework, inking and so forth, to learn the style of comics. Some people are fast and amazing at it (speed wasn't my concern)... But, I'm not going to lie, it's dreadful to me. Everyone is different and for me, shape design and carving away at it just comes so natural and fun. Linework and the comic style is just "work" for me, and quite boring to be honest.
Line art is super hard for me too - there is nowhere to hide. Everything must be shown fully which requires a great deal of calculation in every step. That's exactly what I love about shape carving - it lets you imply so much rather than having to show everything.
They live in the world of Wizards… lol
😀
“JOUST” video game! Don’t steal an idea that was successful, it was a video game and even went to Atari
Right on, I love Joust. I definitely didn't mean to suggest that I invented the idea of a guy riding a giant bird (I'd bet that the creators of Joust didn't invent it either). This is just my take on a fun general concept.
That's really cool but should be honest. People with low and middle skills can't simply create an anatomically correct and readable shape without construction, i.e. it's a good method but requires a "dedication" first.
Unfortunately I'm not ready for this.
Ah gotcha. Yes, those shapes certainly don't just appear out of nowhere, there was a bit of research and quite a lot of experience with shape design involved so I take your point. Glad you found the approach somewhat helpful though. Best wishes to you with your artwork :)
would be way better without all these blacks and some reflective colors in it.
That would be awesome. I'll have to detail this thing in one day.
I feel like it going to be a waste of time learning concept art or any kind of drawing ability since AI will override it someday. It's really depressing.
Yeah I hear you - I think it's going to be a weird decade for humanity. FWIW, it has been about a year and half since all of the AI stuff has been out there and the world hasn't ended for artists. I'm still busy as ever and (way more importantly) art careers are still launching - artists are still getting those entry level jobs. So, while I have no idea where all of this is headed or how much of the mind boggling predictions are to be believed - we're still here, art is still awesome and sought after and it is still deeply meaningful to truly create. Sorry to hear it has you down - hoping for brighter days ahead for you and your art. Cheers.
Ummmm, hey dude, not NEW! This is “JOUST” a video game from the 80’s. Try again
Just seeing this one - replied to your similar comment above. Cheers!
How can this be concept art? What is the concept? You are going to produce something of it's liking or create a new bird species? Seriously. What this is isn't even concept art, concept art does not exist concept design does exist. But what this is is digital graphic art.
Sounds like we have slightly different definitions but I guess I think of concept art as a way to relatively quickly visually explore an idea. So in this case if we were given a brief calling for a bird rider (and perhaps some mood boards describing the world these characters inhabit), what could we quickly produce to help bring that idea and that world to life. I totally agree though that there may be some strict definitions of concept art or concept design that this does not meet. I hope you have some use for the workflow regardless of the application. Cheers
@@fowlerillus I appreciate your opinion, as mine was a personal viewpoint as well. Cheers.
What is this type of art called?
I would say concept art - in that it is quick, iterative and meant to explore an idea. But there is always plenty of overlap when defining categories of art.
That's a sweet looking painting! You talking about converting grayscale to color reminded me of a video by Marc Brunet. He goes from grayscale, and I tried his method and I haven't incorporated it yet, since it's a bit confusing for me, but other more experienced peeps might like it. ua-cam.com/video/3OQeRLwipi4/v-deo.html
But thanks for focusing my mind back on shape language. Looking at my recent stuff, I could definitely start working on this.
Thank you! I'll post Marc's link in the description but I agree, there is definitely a place for this and his stuff is always really instructive. I'm glad you liked the video - thanks again!