Process for "All the Birds in the World"

Set up: I always start with a pencil sketch on paper. I then add tone in Photoshop. I find it easier to compose a page with a tonal image (Figure 1). Once I feel like the composition is set, I'll do a tight pencil drawing on bristol board, which I shift to a warm brown in Photoshop (Figure 2). 

Then I drop in a background that I created traditionally, so that I have a good base with brushstrokes to build up from (Figure 3). I set the Layer Blending Mode of the drawing Layer to Multiply, so that the white of the paper becomes transparent. Then I change the color of the textured background to a sky blue using Hue/Saturation. The trick at this point is to make sure to check the "Colorize" box (Figure A) before using the Hue slider.

Coloring the foreground: The next step is to block in the shapes in a process called "flatting" (named because I'm just painting in solid "flat" shapes) at 100% opacity, usually in a brown hue (Figure 4).

I create a Layer just above the background texture to paint in more textures and clouds (Figure 5). Putting this on its own Layer allows me to adjust the Layer Transparency to blend in the effects. 

Once I've blocked in all the shapes (the "flatting" I mentioned above) on the Layer below the drawing Layer, I'll check the "Lock Transparent Pixels" box on the Layers Panel (Figure B). That allows me to paint the shapes without making selections. It also gives me crisp edges, which I wanted for this book. I use plenty of photo reference for a book like this as I render the different forms. I usually block in the local color and basic areas with a default Brush, but then switch over to my custom Brushes to get more interesting textures and effects.

The last step is the details: I create a Layer above the drawing and paint in all the final touches with my Custom Brushes (Figure C). I have a library of my Brushes, plus I created a bunch of new ones to get some "feathery" effects just for this book. I'll also soften some of the edges so everything isn't so crisp and "cut-out" looking. By the time I'm finished, there's very little of the initial drawing still visible, but I consider the pencil drawing a vital part of the process.

A composite showing different stages of my process.

1. A rough pencil sketch with tone added in Photoshop.

2. Tight pencil sketch. I shift it to brown in Photoshop.

3. I set the Layer Blending Mode of the sketch to Multiply, and then drop
in a textured background that I created with traditional media. I then assign
a color to it using Hue/Saturation, making sure to check "Colorize."
See Figure A below.

4. The "flatting" stage.

5. I start adjusting the background by painting over it. 

6. I lock the transparent pixels (see Figure B below) and paint over the
brown "flatted" areas. The pencil Layer is still the
top Layer.

7. I create a top Layer, above the pencil sketch, and paint in the details.

A. I've circled the Colorize feature on the Hue and Saturation panel.
Make sure to check it and then adjust the Hue slider.

B. Check the circled icon to Lock Transparent Pixels. This will only let you
paint the areas you've blocked in.

C. These are some of the custom Brushes I used.

I animated the Layers (below). I paint over the "flatted" areas, so they don't show up in the video.

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Photoshop Brushes - Texture Modes

A Brush from my "Dry Media" Collection that I use a lot is the one I call Chalky Scratchy. It gives an effect like a hard pastel on a textured surface. I achieved this effect by attaching a texture to a Brush and trying different Texture Modes (found on the Brush Panel; please see screen shot A below).

Click here for my post about attaching a texture to a Brush.

One of the strengths of Photoshop is the ability to attach textures to Brushes, but many times the texture effect seems too soft. Applying different Texture Modes can increase the texture and give you a whole range of effects for you to use in your digital painting.

A. The Brush Panel. Texture Mode is highlighted in
the middle of the Panel. Click to enlarge.

The default setting for my Chalky Scratchy Brush is Color Burn, which can give a contrasty effect. The Multiply mode adds a lot of texture inside the stroke, while Overlay gives a softer effect. Hard Mix is similar to Color Burn but is more solid in the middle of the stroke. Please see the swatches below (screenshot B).

Try playing around with lots of Brushes and textures, because different combinations will give you different--and often, surprising--results. The Preview at the bottom of the Brush Panel will give you a good idea as to what you're going to get. And remember, if you find a new setting that you really like, click the New Brush button on the Brush Panel (bottom righthand corner; it looks like a page with the corner turned up; see screenshot A above) and save your new Brush.

B. Here are some different Texture Modes that gave good results with this Brush.
Click to enlarge.

Click here for more info about my Dry Media Collection.

Click here to buy the Dry Media Collection.

"Walrus" Process

Earlier this year I illustrated an educational reading book called Where's the Walrus? I did the final drawings in ink on cold press watercolor paper, and then painted them in watercolors. I scanned the painting, adjusted the scan in Photoshop, and digitally added more contrast and detail.

Here's the final image:

This is the final version. You can see that I increased
the contrast and added details (mainly on the walrus).
Click to enlarge.

Here's the painting before most of the digital manipulation:

The scan with some color correction. Click to enlarge.

I like to leave my raw scan on its own Layer and use Adjustment Layers (and Layer Masks to target the changes) to optimize the scan. To increase the shadows, I created a new Layer, set the Blending Mode to Multiply, and painted with a cool gray. I usually use a basic Spatter Brush for shadow areas. To lighten some areas, I painted on a Layer with the Blending Mode set to Lighten. You can also use Screen, if that gives you better results (try both to see). You also may want to lower the Layer Opacity to soften the effect. The final step is painting in highlights on a Normal (opaque) Layer with a textured Brush.

Here's my Layer set-up. I like to leave the scan on its own
Layer and make my adjustments on their own Layers.

Here's a detail. Click to enlarge.

I used to touch up watercolor paintings with Stabilo CarbOthello pastel pencils and Rembrandt soft pastels, and that was the look that I was going for with this project. I did almost all of my digital retouching with just one custom Brush (Dave's Big Texture Chalk). The Brush did a good job of mimicking pastels on textured watercolor paper.

I created the Brush so that the texture gets bigger as
the size of the Brush increases. Please see the right
sidebar for more info on my Brush Collections. 

"Tiny Tug" Process

I did this illustration for an educational client earlier this year. There were ten illustrations in all.  

I started with an ink drawing on paper. I scanned in "Black & White" mode to clean it up. Many of the elements were going to be animated, so I couldn't render the reflections in the water.

The ink drawing. Click any illustration to embiggen.

I blocked in the sky on its own Layer. The line work is on a
Layer with the Blending Mode set to Multiply. 

For the water, I painted a big swatch with watercolors, scanned it,
and adjusted it for each of the ten illustrations in this book.
Please see the Layer set-up screen shot at the end of this post.

I added the clouds on their own Layer. I made a looping selection
with the Lasso for the basic shape.

I blocked in the cruise ship on its own Layer. I used a Brush with
bristles to accentuate the contour. Please scroll toward the end
of the post to see which custom Brushes I used.

Here I've painted in the rest of the boats. I block in the shapes at
100% opacity (usually with different browns), then Lock the
Transparent Pixels (see Layer Panel below). After that I render
with custom, textured Brushes.

The exhaust on its own Layer.

Here's the illustration with no line.

The client thought that I needed to pump up the colors, so I went through each Layer and made an adjustment: Image > Adjustment > Hue/Saturation; then increased the Saturation. After that I took my Brush, changed the Mode to Color (see screen shot near the bottom of this post), and painted brighter colors over some of the areas. Painting in Color Mode keeps the existing tonal values but just changes the color. You could also create a Layer, set the Blending Mode to Color, and paint on that. Because the client wanted specific elements grouped by Layer, it was easier to make adjustments to individual Layers.

Here's the final with pumped up color.

                                     

Detail. Click to enlarge.

An animated version.

The Layer Panel. Click to enlarge.

Here's where you change the Mode for the Brush.

These are the main custom Brushes that I used. They are included in the
Wet and Dry Media Brush sets. Please see the sidebar for ordering info.

Blog Tour - "Froggie" Process

My crit group buddy Marcus Cutler has passed me the illustrator blog tour baton, so here goes:

What am I currently working on?

Right now I am concentrating a picture book proposal that is inspired by fairy tales, but it's a different spin.

How does my work differ from others of its genre?

I tend to get hired for stories that require expressive animal characters.

Why do I write what I write? (or draw what I draw?)

Hey, those stories (and pictures) aren't going to create themselves!

How does my individual writing/illustrating process work?

I'm going to detail the process for a style sample that I recently did for an educational app developer. 

I start with a blue pencil and do a loose drawing of basic shapes. I go over the blue pencil with graphite. Then I scan it in color and knock out the blue underdrawing using Hue/Saturation (cmd-U) as shown below, using the drop-down to target Cyans and Blues. I slide the Lightness all the way over to the right (+100) for each. 

Hue and Saturation (cmd-U)

I set the Layer Blending Mode for the drawings to Multiply. On a Layer underneath the drawing, I paint in the entire background. I usually block in everything with a standard Spatter Brush, then paint in detail and highlights with a custom textured Brush. I block in the frog at 100% Opacity on its own Layer (under the drawing). I carefully go over the shape, using the drawing as a guide. I usually use a brown midtown color. Next I click the "Lock Transparent Pixels" (see below) button on the Layer Panel and paint in the frog. I like to do this so that I don't have to make selections during the painting process. This will give me sharp edges, so I need to make sure to soften some edges later on. 

Here's a snapshot of the Layers:

Layer Panel. You can see that I added a Color Fill Layer to
warm-up the frog color. the Layer Blending Mode is set to
Soft Light (shown above), and I set the Layer Opacity to 45%
(also shown above). Click to enlarge.

I paint in the details and highlights with custom, textured Brushes. I often add a "Multiply" Layer to deepen the shadows (paint cool grays on a Layer set to the Multiply Blending Mode).

In this case I added an "Atmosphere" Layer to push back the background and give a foggy feel to the scene. I add a Color Fill Layer, choose a pale blue-green, then lower the Opacity. Because the frog is on his own Layer, I just have to place the "Atmosphere" Layer below the froggie Layer. 

I always add a "Top" Layer to paint over some of the drawing, redraw certain areas, and add highlights. 

I used a "Color Fill" Layer filled with a warm green-yellow to brighten up the frog. I tried different Layer Blending Modes but decided on "Soft Light."

Here's the final:

The final piece. Click to embiggen.

Animated process:

Here's a detail:

Detail. Click to enlarge.

I mostly use Brushes from my two collections: Wet and Dry Media. These are the ones that I used the most in this illustration:

These are from my Brush collections. Info is on the right sidebar.

Who are you are passing the interview to?

Next up is another buddy from our SCBWI crit group, Helena Juhasz. Please click here for her post. She writes: "I am a children's book author-illustrator with a soft-spot for young children's graphic novels and picture books. I am also the Illustrator Co-ordinator for SCBWI Canada West. I love writing stories and following the characters into their worlds, through layers of paper, pencil and paint."

Organizing Photoshop Brushes

Organizing your Photoshop Brushes is an important part of being an efficient digital artist. You can start by deleting or renaming Brushes. First, choose a Brush as your active tool (hit the "B" key), then go to the Menu > Brush Presets > right-click or button-click (with a stylus and pressure-sensitive tablet) and you'll get the options to either "Rename" or "Delete Brush." See A below.

A. Brush Preset Panel. Right-click for the options shown above.

But what you really need to know about is the Brush Preset Manager. To find that, make sure a Brush is your active tool, then follow the path in B below (which is: Menu > Brush Presets > "gear" icon for drop-down Menu (top right corner) > Preset Manager.

You can also load default Photoshop Brush collections that are not part of the default start-up set, and there are some good Brushes. To load those, scroll past "Preset Manager" (below) to get to "Assorted," "Basic," Calligraphic," "Dry Media," ... etc.
Please click here for my blog post about these collections.

B. Here's how to get to the Brush Preset Manager.

The Brush Preset Manager (C below) is where you can arrange your Brush Presets, create your own collections, and load Brush collections.

At first, I just selected the ones that I used the most and dragged them to the front of the list, right under "Hard Round." To do that, click the Brush that you want (shift-click additional Brushes if they are next to each other, or cmd-click/PC:ctrl-click if they are not); and drag-and-drop where you want the Brush to end up. Before you release the mouse, make sure the line appears where you want to Brush to end up. Please see C below.

C. To move a Brush, click on it, then drag-and-drop to the place where
you want to put it. Moving your favorite Brushes to the beginning
of the Presets is a good start to organizing your Brushes.

And just like in the first step above (image A above), you can right-click to Rename or Delete. You can also select certain Brushes by selecting them (shift-click if they're all together, cmd-click if they are spaced apart), then saving them as a set (circled below in D).

When you save a set, it goes into the appropriate folder, which is:
Mac:
(Your computer name)/Macintosh HD/Users/(your user name)/Library/Application Support/Adobe/Adobe Photoshop CS_/Presets/Brushes
PC:
C:\Program Files\Adobe\Adobe Photoshop CS5\Presets\Brushes

And notice the "Load" button just above "Save Set"--that's where you go to access the different sets. Photoshop by default will go to the correct folder, but it's always good to know where that is.

I always like to save the entire set (after loading some of the Photoshop defaults, like "Dry Media," creating and saving my own, downloading some from the internet) before I start deleting ones that I don't use. That way, I can easily restore the set if I need to. To do that, click on a Brush in the Preset Manager, then cmd-A/PC:ctrl-A, then "Save Set." I usually name it something like "My Big Set."

D. Brush Preset Manager

So, now that you've renamed your Brushes, arranged them in a logical order, and organized them into sets, go paint some pictures!

Click here for my post about making your own custom Brushes.

"Evil Robot" Animated

"Evil Robot" process animated.

Please click here to read the blog post about the process.

Dozer's Run Process

The process that I used for the picture book Dozer's Run is similar to the one that I used for the "Let's go, Murray!" app, which I detailed here. The first step is the drawing, which I still do with a pencil on paper. Then I scan it and add the color and texture in Photoshop (in this case, CS6). After the drawing there's the "underpainting" stage, the main painting stage, details, and overall image adjustment. Please click any image to enlarge.

Animated version.

It all starts with a pencil drawing.

Oil over gesso background dropped in underneath drawing.
I set the Blending Mode of the drawing Layer to Multiply.
You can scroll down to see my Layer Panel.

I added shading by painting gray on a Layer set to Multiply.

At this stage I'm painting in light areas by working on a Layer set to Screen.

Local color by painting on a Layer set to Color.
This concludes the underpainting.

That concludes the underpainting stage. The previous three steps (shading, painting light areas, and local color) all preserve the texture (through Layer Blending Modes) of the gessoed and painted panel scan that I dropped in underneath the drawing. Most of the next steps involve painting on Layers with the Blending Mode set to Normal. The Normal setting lets you paint opaquely. At this point I generally use custom, textured Brushes.

Starting to block in opaque areas.

More opaque details.

Deepening shadows (with a Multiply Layer).

Painting in the light. I also added some "atmosphere" (see Layer set up below).

Finished?

We decided to revise the scene to put the dogs in the back yard,
so I painted in grass behind them. And because this is a digital piece,
that change was pretty easy!

This is the Layer set up for the "underpainting" stage. All of those
Layer Blending Modes preserve the brushstrokes of the Texture
Layer on the bottom.

Here's a detail of the texture showing through the adjustments
I've made in the "underpainting" stage.

File size was getting to be an issue, so I flattened the underpainting Layers and worked on Normal Layers above the "Underptg" Layer. Pixels on a Layer with the Blending Mode set to Normal are opaque, so they cover up the pixels on Layers underneath. After the underpainting stage, I generally work with custom Brushes with textures attached to them. I did a blog post about that process.

I often add an "Atmosphere" Layer to give some
atmospheric perspective. To do this, I'll add a
pale blue Fill Layer and apply a Layer Mask.
I then paint black on the Layer Mask to mask out the
effect for foreground elements. After that I adjust the
Layer Opacity, in this case lowering it to 22%.

Detail of the final to show texture. I like to use lots of different Brushes
and Layers to build up an interesting and varied surface texture.
Please click to enlarge.

I created a bunch of custom Photoshop Brushes for this book, many of which I am making available in two sets: Dave's Wet Media and Dry Media.
Click here to buy Dave's Wet Media Brushes.
Click here to buy Dave's Dry Media Brushes.

These are some of the custom Brushes that I used in this illustration.
They are included in the Wet and Dry Media Brush collections.