Warning: This tutorial is NOT FOR BEGINNERS, it’s for people who know their way around Photoshop and are looking to further their design knowledge/skills. If you aren’t comfortable with radial gradients, overlay layers and clipping mask layers and have a good foundation level of artistic skill this tutorial probably isn’t for you. Oh, and you should definitely have a graphics tablet; it would be undiluted madness to try this with a mouse!

Still reading? Excellent stuff. This tutorial is going to focus on design choices and a little bit of theory. There are literally thousands of tutorials online that cover keyboard shortcuts and clever ways to tweak your custom brushes but less cover the reasons why we’ve chosen to do what we do when we’re creating a piece of art, which is often more important than the process of how you got there (but don’t worry, there will be some of that too!). And we’ve even included a few custom brushes that you can download here.

Final Image:

Here’s the final image that we will be creating:

What’s my motivation? (or ‘No, he wasn’t always a tree!’)

The goal of this image was to take an existing concept and push it further. For those of you that haven’t played The Legend of Zelda: Majora’s Mask I’ll give you a very brief explanation of the story behind this image. The Zelda franchise has always flirted with a dark narrative, but Majora’s Mask was the first game where they really looked into the dark side. The hero “Link” gets a spell put on him that mutates him into a Deku scrub (a strange tree like creature), and the moon crashes into the planet killing everyone! The transformations in the game always looked quite painful and upsetting; Link would scream in pain every time. I always felt that the game could have gone even further with the transformation, so I thought why not do it myself?

Fun Fact: When Link was in his normal human form, dogs would simply ignore him, when he was in his Deku Scrub form they would get angry and bite him! As if being a tree wasn’t bad enough! At least they didn’t confuse him with a hydrant…

Step1: A good foundation (or ‘How to obtain a hot beverage with minimal effort!’)

First things first, open up an A4 PSD at 300 dpi. Start off drawing a rough layout using my custom “dc colouring opacity” brush (in the brushes download pack) with a light blue colour. Always try to get the main character’s pose sorted out and think about the general composition as a whole. Don’t worry about details until you’re happy with the bare bones first; you’ll only end up having to fix things later. It always helps to stand up and “act out” the pose so you get a better understanding of it. If you can, have someone else act it and take a photo that you can use for reference. Not only that, it’ll make great blackmail material when you next want a cup of tea!

Fun Fact: Despite being ‘ethically sketchy’, blackmail can indeed get you a nice cup of tea…

Step 2: Lines

Once you’re happy with your rough lines, draw the character’s final lines on a new layer called ‘lines’ (imaginative, huh?) using the ‘ink’ brush (also in the brushes download pack!).

Step 3: Add some Colour

Next up, use the paint bucket tool to fill the background with an appropriate blue/teal colour. This serves 2 functions; firstly it helps set the mood of the piece, secondly it gets rid of the white space. Not only can white space be a bit intimidating, but colouring against white will throw your perceptions of colours.

Still using the ‘ink’ brush; lay in the flat colours of your image on relevant layers underneath the ‘Lines’ layer. Make sure to keep adjacent colours on separate layers to make shading easier, so colour all the skin on one layer, then clothes on a layer above, his strange branch hair on another, etc.

Step 4: Background

Open up your references to help inspire you. As you can see, everything from the game is a bit dark, twisted and creepy so let’s make our background evoke similar feelings. Using my “inking opacity” custom brush, lay in a basic background, with simple bushes and trees. Try to make sure everything in your background leads towards your focal point (e.g. all of the branches lead your eye towards Link). Remember the closer we are to things the more saturated the colour is, so use less saturated colours on trees that are further away to make them recede into the painting.

Step 5: Let there be light

Now we’re going to add our light sources; Link’s little Fairy companion (called “Tatl”) and the moon. We’ll keep it simple at first, as we are just adding them for reference so we can work out where the shading should go on Link. On the ‘skin’ layer, use an airbrush and choose a nice bright yellowy-orange, and draw a simple round glow in front of Link. Do the same with a white colour to establish the location of the moon.

Fun fact: Tatl has a brother called “Tael” which is a bad pun on the phrase “tattle-tale” which proves Nintendo loves bad puns even more than I do!

Step 6: More background elements

Add in some mountains in the background and draw the owl from the reference on a branch that is again pointed towards Link. Just render the owl as a silhouette for now; we’ll focus on him properly at a later stage. Use a texture brush to make the floor look a little varied. You don’t need to use a specific brush for this; it’s just something to make the ground look more varied at this stage. It helps to have things vaguely established so that you start to get a feel for the general environment you’re creating.

Step 7: The magic of clipping masks

Now for each of your flat colour layers, create two clipping masks each (create a new layer and tick the “use previous layer as clipping mask” box, then click ok). Set each of the top clipping mask layers to overlay in the blending modes, and the leave the bottom ones at normal. Using clipping masks will allow you to add basic shading to each layer without worrying about going over the edges; simple but brilliant!

Step 8: Shady business practices

We can now start adding some basic shading on the skin using the ‘inking opacity’ brush on the Skin’s normal clipping mask layer. Try to picture Link as a 3D object, and how the light sources would affect the light and shadows falling on him.

Step 9: Lather, rinse, repeat…

To avoid being repetitive, I’ll simply say that you need to repeat this step for the clothes, boots and hair on each of the relevant normal clipping mask layers. Add the strange fiery glow to Link’s eyes using a soft airbrush, and then a hard edge round brush to add the more defined parts (again this is just another element of his design that we’re pushing a bit further.)

Step 10: The Lockdown (or ‘you’re so transparent’)

Another tip which will help those of you that like to keep line work in your final image is to lock the transparency of the ‘lines’ layer by clicking the small chessboard icon in the layers palette. This means you will only affect existing pixels and not create any new ones on that layer, so you can now colour your lines easily on the ‘lines’ layer. Use colours darker than your darkest shading for each area (e.g. a really dark green for Link’s clothes outlines).

Step 11: Moonlighting

You can also render rim-lighting on the locked Lines layer (e.g. The moonlight on his hat and the light on Link’s hands cast by the fairy ‘Tatl’) by choosing a white colour or bright yellow and painting over the lines.

Add the moonlight to Link using a light blue colour (don’t use white as it looks far too strong) with the inking opacity brush. Try to fight the urge to render too much moonlight as we wouldn’t see much of it on Link from this view; he’s mostly blocking it from our viewpoint.

Step 12: Gradients

Lock the transparency of the skin layer (click the chessboard icon) and use the radial gradient fill tool on the skin layer to more accurately show the light emitting from Tatl casting a glow over Link’s hands, using a soft yellow colour at 25% opacity. Make the yellow more saturated the closer you get to the light source. If you repeat this on the ‘skin overlay’ layer it will add more variation and richness to the lighting. Add some more detailed shading and highlights to Link with the inking opacity brush, and don’t forget to colour the lines a bright yellow on his hands to simulate rim lighting.

Step 13: The overlay layer

Create a new layer called ‘Blends’, move it directly underneath ‘lines’ in the layers palette. Set the layer properties to ‘overlay’ and select the radial gradient too. We want to create the effect that light gives as it naturally scatters from a surface it has hit. Choose a light blue for the areas where the moonlight is hitting Link and light yellow for areas where Tatl’s glow is hitting him. Click on the point where light has hit the surface and drag the gradient tool outwards to create a subtle burst of reflected light. Remember that some surfaces are more reflective than others so vary the amount accordingly. Now add more glow to his eyes on this layer using a yellow radial gradient. Keep adding to the shading as you go; as you add more light to the image it will be clearer where shadows should fall, such as along the grooves of his hair.

Step 14: The overlay layer strikes again

You can also use the ‘blends’ overlay layer to enhance the colour variation on Link, eg. use a low saturation red to make his cheeks look more flushed and a soft orange on his boots, and a green on his hat to add more colour. The beauty of overlay and soft light layers is that they add richness without obscuring any existing details you’ve already rendered. It makes them very useful for editing colours on the fly.
Now spend some time perfecting the shading and lighting; add smaller details such as light and shadows in the grooves in Link’s body to make his skin appear more tree-like.

Step 15: Get dirty! (also, get your minds out of the gutter!)

People always bemoan that working digitally produces very clean, artificial looking work, so use some grimy texture brushes on the overlay layers (the clipping masks we applied and set to overlay earlier) to mess things up a bit. Link is currently half tree, so there’s plenty of scope to go crazy with texturing here. Likewise because he’s in a forest, feel free to add dirt to his clothes and scuffmarks to his boots. Everything should look well-worn. Doing all of this on the overlay layers helps because again, you don’t lose any existing details you’ve already drawn in, it just adds to them.

Step 16: Tatl’s tale…

Going on with my theme of pushing the design into a more ‘realistic’ fantasy, I’ve decided to give Tatl a more humanoid appearance; I still keep her colour and 4 wings, but using an almost white yellow with the inking opacity brush give her a more obvious female form; the more elements the viewer can relate to because they have a basis in reality, the further you can push the fantastical elements and still have them believable. Despite being a fairy, a humanoid version will illicit a more empathic response than a simple glowing light; having a form makes it feel more authentic to the viewer.

Create Tatl’s ‘pixie dust’ motion trail with a low opacity yellow airbrush and then use a speckled brush with opacity set to 60% to add in some faerie dust particles, with a mixture of very light yellow and white shades to make it seem like it has more depth.

Step 17: Clouding over

The night sky should be rendered with a mixture of blues; no blacks should be used because the moon is out in full. Use the radial and linear gradient fill tools on the background layer to get a nice variation of colours, making the sky darker at the top. Create a new layer above that to render the clouds, using an airbrush for the majority of the work and adding to them with some of the cloud brushes that we have provided alongside this tutorial. Start from a dark base and add the lighter colours to the clouds as you go.

Step 18: Star get!

On a new layer, below the cloud layer, add some random stars to the sky using a star brush (there’ll be one in the tutorial download file). Change both the size of the brush and the opacity to create stars that appear to be different distances, as well as a mixture of yellow and blue-ish whites. Then apply a slight Gaussian blur to the layer to soften them, and also add a Gaussian blur to the clouds.

Step 19: A lesson in landscaping

Create a new layer above the background, stars and clouds and call it ‘mountains’. Using a low saturation blue, render in the mountains. As you’ll notice, my first attempt at mountains was both (a) too detailed and (b) quite dull, so I changed them later on in the process. Later on, I brushed out a lot of the detail in the mountains as they’re too far away to see that level of detail, then I made them more dramatic and jagged for a sinister appearance. Also notice I made the largest peak a subtle pointer to one of the minor focal points; the moon.
Using the airbrush (because it has soft edges, as do things in the distance), add in clock town on a layer above the mountains, in a slightly darker and more saturated blue. I’ve gone for a stylised representation of Clock Town as everything is more curved and crooked than it would be in realistic architecture.

Add another layer in between the mountains and the town, and use a light grey airbrush to create the mist that collects at the bottom of mountains.

Step 20: “You look more like a flooring inspector” (+10 points if you get the quote!)

On a new layer, use a light blue brush suggest a very subtle path starting from Clock Town and leading down the hill to Link. Make it wind a bit because curves always look more interesting than straight lines. Create a new layer above the floor/path/etc. and set the blending mode to overlay. Add a yellow glow (cast by Tatl, of course) on the floor with the radial gradient tool. Erase this glow from the area near Link’s feet to imply the shadows they would cast.

Now that Tatl is even brighter, add some more yellow light to Link, and enhance the shadows even more. Use the inking opacity brush to add some light reflecting off of his boots and face, for example. Also enhance some of the smaller details at this point, such as using a light colour to trace the outline of the pattern on his clothes, and a small dark brush to add more detailed grooves and variation to his skin.

Step 21: The Menacing Moon! (or ‘I’m sure it wasn’t that close yesterday…’)

The moon in the game was given a lot of character as it would ultimately crash into the land of Termina and destroy the world; ending the game! (And your hands if you had the rumble feature enabled in your controller!) I’ve decided to reign this in a bit as the main story in this image is Link’s mutation; I want the moon to be there as an ominous threat of things to come that Link is unaware of at this time. We’re still going to keep the face, but make it much more subtle, and reminiscent of the faces people can see if they look at the moon. Use an airbrush to softly render an angry face, using reference of the in-game moon as a guide. To add authenticity, paste in a photo of the moon (there are a lot of photos around the web for you to use, it’s a pretty common image!), on a layer above your drawn moon, resize it (press CTRL+T to free transform) and set the layer’s blending mode to overlay.

Fun Fact: For the more curious among you, this is the point where I corrected the mountains.

Step 22: Sticks and stones (they’re more trees than sticks really…)

We have our far off background sorted, but it’d be helpful to have some mid-ground items to help push the illusion of depth, so on a new layer add some creepy trees on the left hand side. Use a fairly dark blue to show that they’re closer, but still far away enough that we’re still not seeing any real colour detail. Draw in the gossip stone (in the right hand side of the image) with the inking opacity brush, a search online will provide you with plenty of reference for it’s appearance. Once you’re happy with it, use the lasso tool to select it and open up a stone texture (once again, a quick check online should come up with something; there are plenty of free textures around), copy it and then back in the Broken Link image press Shift + Ctrl + V (or edit>Paste into) to paste the texture into the gossip stone selection. Make sure the texture is directly above your gossip stone in the layers palette, and set the layer properties to Hard Light.

Fun Fact: If you bombed the gossip stones in “The Ocarina of Time” and “Majora’s Mask” they would fly up into the sky like a rocket and explode. I don’t know why they did, but they did.

Step 23: The sky at night (or ‘I’ve drawn too many clouds, haven’t I?’)

You’ll notice I decided that the sky was looking far too busy with all of the clouds I had drawn in so erased a lot of them and went with just a few. Every picture needs some space for the eyes to rest; too much detail will start to harm your image because everything is fighting for attention. Copy and paste a cloudy sky photo texture above your sky layer and set it to overlay, to add a little authenticity and variation.

Step 24: “Eyes in the dark…” (or ‘Couldn’t they have just called him “the owl?” ’)

Time to take a look at Kaepora Gaebora; Link’s owl advisor. I’ve decided not to stray too far from his design as it works fairly well. A quick google image search for owl reference later, and we’ve found a fairly appropriate example to use in this pic. I like the way the real owl’s plumage is feathered (as in textured, not as in…um, feathers!) so I use this element in his design and exaggerate it a little further to continue the eerie nature of image. I also prefer the orange eyes that the real owl has to his blue eyed counterpart. I’ve kept in his trademarked eyebrows to make sure the audience will recognise him as a character and not just a creepy owl in the background. Just using a tiny bit of light to highlight some of his form keeps him mysterious.

Step 25: To the forefront (or ‘It’s rude to point!’)

On a new layer above everything else, draw in some dark silhouetted scenery in the foreground. Remember they are here to create depth and aid in composition so ensure they are all pointing towards a focal point (here the branches and grass all point to Link and an additional bit of foliage is leading our eyes towards Tatl). Draw in a very small amount of highlights just to suggest the 3d nature of the objects and apply a slight gaussian blur to these new foreground elements to make everything slightly out of focus. All that’s left to do now is make all of your small final touches, such as drawing some of the leaves that Tatl’s glow would hit to suggest more depth in the greenery and drawing a small clump of the ground in front of Link’s boots to suggest his weight on the ground.

Step 26: Final Touches

You can also add another layer set to Overlay at the very top and use gradients to add more “oomph” to your image. Feel free to experiment a bit, adding dark colour variation to the sky, mountains and clouds, or adding even more glow to Tatl and Link. Tidy up your image, before we finish with the final step…

Step 27: All good things

This last step is actually a really good method for improving photographs, but it works just as well on illustrations. Press Shift + Ctrl + Alt + ~ If you’ve managed to do this without breaking your hands, it will select the luminosity of the image (or all the light parts for those of you that have misplaced your thesaurus). Go to the very top layer and press Shift + Ctrl + C to copy from every visible layer and then Ctrl + V to paste it into a new layer. Set the new layer’s blending mode to Soft Light with an opacity of 45%, and you’ll notice that all of the colours are slightly richer. It’s a subtle effect but will often give that extra “pop” that arty people are always so concerned about having.

Not-so-fun Fact: This shortcut only works on the PC, as far as I’m aware, there currently is no mac equivalent shortcut. If anyone knows otherwise, please feel free to put me straight; I’d love to know if there is a mac shortcut for this trick!

I hope this guide has been helpful to you and that you can apply many of these principles to your future work. You can keep up to date with our artwork at our art blog and our website www.CoolSurface.com You can also come follow me on Twitter: http://twitter.com/DavidCousens

Have fun,
David.

LeChuck’s Revenge: a very Monkey Island inspired cel shading tutorial

Ye be warned: This tutorial is NOT FOR BEGINNERS, it’s for people who know their way around Photoshop and are looking to further their design knowledge/skills. If you aren’t comfortable with radial gradients, overlay layers and clipping mask layers and have a good foundation level of artistic skill this tutorial probably isn’t for you. Oh, and you should definitely have a graphics tablet; it would be grog induced folly to try this with a mouse!

Also, this tutorial does refer to some of the new features in Photoshop CS5 in a couple places, but the effects can still be achieved with older versions, just with a little more work.

Final Image:

Here’s the final image that we will be creating:

Ahoy mateys!

*ahem*

Right, now that’s out of my system I promise I’ll try not to stray into pirate speak too much because it can get a little confusing after a while (as anyone who has changed their Facebook language settings to “Pirate” can attest to).

This tutorial will take you through how I made this illustration of everybody’s favourite, won’t stay dead, Zombie Pirate LeChuck who is one of the main characters in the newly released Monkey Island 2: LeChuck’s Revenge Special Edition, one of my favourite games of all time created by Ron Gilbert, Tim Schafer and Dave Grossman. Hopefully this will help all of you reading this to learn some of my techniques and will help me get some free Monkey Island stuff booty sent to me! (Hey it’s worth a shot right?).

Fun fact: for some reason every time I’ve tried to type monkey I’ve added an ‘l’ and written ‘monkley’ instead…. I’m blaming the hayfever (or pollen allergies to those of you in the states).

Step 1: Roughs

Let’s get started, create a new A4 PSD at 300 dpi. Draw a rough layout using my custom ‘dc rough pencil’ brush

(this brush can be found as part of the members-area download back for this tutorial)

with a light blue colour. It’s always worth getting some reference material, especially when you’re drawing a character that people have a lot of affection for. For inspiration I looked towards the “special edition” version of LeChuck as well as the legendary Steve Purcell’s various interpretations of the character. I was inspired to draw a homage to the original cover of Monkey Island 2 where LeChuck is attacking the always lovable and hapless hero Guybrush Threepwood by using a voodoo doll.

Fun Fact: I really wanted to include my favourite Monkey Island character: Murray the Demonic talking skull in this but he didn’t surface until Monkey Island 3: The Curse of Monkey Island. To avoid people nitpicking, Murray makes a ‘cameo’ here in place of the skull & cross-bones motif that normally adorns LeChuck’s hat.

Step 2: Lines

Once you’ve got your roughs to a point you’re happy with, lower the layer’s opacity to 65% and create a new layer above it called “Lines”. Use the ‘DC Drawing Pencil’ brush (or ‘DC Inking CS5’ if you have CS5) to draw in your Lines. To keep this stage interesting, feel free to add embellishments to your roughs and have fun making new details. Don’t be a slave to your roughs as that sucks the fun right out of this stage.

Step 3: Flat colours (or “Oh god no! Not the flat colours!”)

Fill the background layer with a neutral colour (hit ‘Shift’ + ‘backspace’ the select ‘use foreground colour’) because picking colours against white will throw your perceptions a bit. Here I picked purple because I was originally going to use a purple background but decided against it during the process. Set the “Lines” layer blending mode to ‘Overlay’. Next create a new layer called “Flats” and then brace yourselves for the horror that is the flat colouring stage.

Choose yer poison:

Let’s face it, flat colouring can be coma-inducingly dull. There are numerous ways of completing this step, and I’d suggest you do whichever you find less painful. I quickly laid down a little colour guide for myself to show what colours needed to go where and then used the lasso tool to select each area and then filled each selection with the Shift + Backspace method for speed’s sake, but you may find you prefer to paint them in with a brush. Any method of flatting is fine as long as you remember to put all of the colours on this one layer as it will make selecting specific areas very easy in later stages.

Quick Tip: To make life a little easier here, ‘Ctrl’ + ‘Left Mouse click’ the Lines layer thumbnail in the layers palette to select the lines then Press ‘Ctrl’ + ‘H’ to hide the marching ants and paint the lines on the flat colour layer. Use the same colour as the area the respective lines surrounds (eg, colour the shirt lines with the same colour as the shirt).

Step 4: Background painting (or “The-slightly-vague-because-not-many-people-will-have-Photoshop-CS5-yet” step)

I toyed with a few different backgrounds before settling on this quite abstract, painted version which I call “big mess-o-colors™” which was made using Photoshop’s new CS5 mixer brushes Select a ‘Flat Angle’ brush with the following settings: Bristles 7%, Length 186%, Thickness 1%, Stiffness 39%, Spacing 1%. Also set Wetness to 1%, Load 100% Mix 1% and Flow 100% making sure the “use all layers” box is un-ticked because you don’t want to start dragging foreground colours into the mix. Once you’ve got these settings sorted get even more scientific, take your brush, choose your colour and swoosh the brush around the canvas then pick another colour and move your brush stroke over it to mix the paint just as you would do with traditional paint. It’s basically like painting when you’re 3 years old. Told you it was scientific!

Now a lot of you won’t be working with CS5 yet and may be thinking 2 things, 1. that’s a scary amount of settings, the mixer brush is strange and different to me and 2. how do I achieve that without CS5?

Well to point 1) yes the mixer brush does have a lot of settings, but once you play with it for a while it does start to make sense. And point 2) You won’t be able to copy this exactly but seeing as I pretty much just swooshed my brush around on the screen whilst picking different colours you could end up with a similar result if you placed a lot of colours picked from the final image and use the smudge tool on them.

Fun fact: Despite the fact it should be, “Swooshed” is not a word. “Swoosh” is though. The world seems a little stranger to me upon knowing this…

To finish up the background I’ve used a paper texture set to ‘Overlay’ at 100% and I’ve used a pixel font called “kongtext” to add a retro reference to the image. All of the words there are taken from the original game’s SCUMM interface that all of the old LucasArt’s graphic adventures used.

Step 5: Shading with Gradients (or, ‘Finally, we’re getting to the good stuff!’)

Create a new layer called “detail and colour gradients” (make sure you have ticked the use previous layer as a clipping mask) and set it the layer blending mode to Color Burn, opacity 65%. Now press ‘g’ to select the gradient tool. Set the gradient tool to 25% and use ‘foreground to transparent’ ‘radial’ gradients. Apply shading by selecting the magic wand (press ‘w’) and use it to select an individual area of flat colour on the ‘flats’ layer, then on the ‘detail and gradients’ layer, press ‘g’ again and use the radial gradient tool to apply a colour of R:32 G:115 B:128 to your selection.

Quick tip: You don’t have to use blue as the shadow colour, pick your shading colour to match your local background colour. For example, if the person is standing in a sunset use a red colour to add your gradients. People are always affected by the colours of the environment around them so it will help to unify your image.

Step 6: Hard shading (aka cel shading)

Create a new layer called “hard shading”, tick the “use previous layer to create clipping mask” option and set the layer to Linear burn at 50% opacity. Use the freeform lasso tool and draw your selections manually, then fill the areas with the same blue colour you used in the last step using ‘Shift’ + ‘Backspace’ , ‘use foreground colour’ method. The reason we’re using the lasso instead of using the brush tool is that you get a very clean hard edge with the lasso that you just don’t get with painting.

Quick tip: You’ll notice that a lot of these layers use the “use previous layer to create clipping mask” option, this is because this acts as a timesaver; because the layer will only let you paint on top of pixels that exist on the layer below you don’t have to worry about painting over the edges which means you can be much less precise with your selections.

Step 7: Add Subtle details for texture

Create a new layer just above the “flats” layer called “extra detail”, and ensure the “use previous layer as clipping mask” option is ticked. Use the following brushes to add texture; “duster”, “clouder” and “pore brush speckle 3”. Use a light beige colour to add dirt and dust to LeChuck’s boots, and his jacket, and a mixture of browns to add mottling on his face and hands. LeChuck is a rotting zombie here so feel free to add lots of messy texture.

Fun fact: In every Monkey Island game LeChuck appears as a different version of himself. In Monkey Island 1 he was a ghost, in MI2 he’s a zombie, in Curse of Monkey Island he’s a demon-pirate with a flaming beard!

Step 8: Shading the shading

Create yet another new layer, and name it “shading colour tints”, set to 50% layer opacity. Hold ‘Ctrl’ and ‘left click’ the “hard shading” layer to select its contents and then use the radial gradient tool and apply small gradients (with lighter and darker shades of the flat colours) on the “shading colour tints” layer to add variation to the shading. Use a variety of local colours, to show the light bouncing around the image, for example pick a blue from the background and drag the gradient tool over the edge of LeChuck’s coat.

Step 9: A darker, smaller layer of shading

Create a layer named “smaller shading”, place it above the Lines layer and set it to ‘Linear Burn’ and 50% layer opacity. Much like the hard shading layer, use the lasso tool to select areas within the existing shading that should be even darker, eg. The inside of LeChuck’s flowing sash, and near the roots of the voodoo doll’s hair. Fill them with the same colour used on the “hard shading” layer.

Fun Fact: The Cool Surface office plant is named “LeChuck” because much like it’s namesake, no matter what it goes through it never dies! It’s been over-watered, under-watered, knocked over and it’s still thriving!

Step 10: Edits

Create a layer called “edits”. This is typically the layer I make where I add details or edit small things that I’ve noticed haven’t quite worked so far. Add glow and detail to LeChuck’s eyes on this layer. Use a red radial gradient to create the glow, then use a small white gradient at the centre where his pupils would be. Use a speckled texture brush to add some “energy” coming from his eyes. Also add in some maggots in LeChuck’s beard and spittle coming from LeChuck’s mouth on this layer.

Fun Fact: Other characters with red eyes include Cyclops from the X-Men, Gambit from the X-Men and me when my allergies are flaring up. Unlike the previous two entries on this list I have never worn spandex, despite how much my wife has tried to convince me it’s a good idea because I’d look “hilarious”.

Step 11: Solid Highlights

Add another new layer, called “solid highlight” set to ‘Overlay’ at 50% layer opacity. Use the lasso tool to make small selections of areas that need highlights (refer to the image below to see which areas I selected) and fill them with pure white. Use a light yellow gradient on this layer over LeChuck’s eyes to make the colour richer.

Step 12: Colour boost

Create a new layer and name it “colour boost”. Set it to Overlay and leave at 100% layer opacity. Use a light yellow colour with the radial gradient tool to add some more variation to the colours and make it appear richer. Apply it on the voodoo doll’s skin, the front of LeChuck’s shirt and anywhere you feel could do with a little brightening up!

Fun fact: To promote the releasing of Monkey Island 2: Special edition, LucasArts made a Guybrush Threepwood voodoo doll to give to E3 attendees this year and I really badly want one! If anyone has one and doesn’t want it please feel free to send it my way!

Step 13: Rim Lighting

Yet another new layer (you’d think I was being paid by the layer)! Place it above the “smaller shading” layer and name it “rim light”. Rim lighting is where a secondary light source hits the character which is great for adding depth (if you look around you you’ll see that everything is hit by more than one light source). Imagine there’s a light source coming from the left and use the lasso tool to select areas where we will add rim lighting (eg. The left edge of LeChuck’s main hand, the left hand side of his right hand sleeve, the left edge of the voodoo doll’s head, arms, etc.). Fill these areas with a very light cream.

Step 14: Leather texture

Sometimes adding subtle textures will make your image more convincing. Download the following leather texture from Stock Xchng: http://www.sxc.hu/browse.phtml?f=view&id=1154342 Open it and press Ctrl+A then Ctrl+C to copy it, then use the magic wand tool to select LeChuck’s belt on the “flats” layer. Go to Edit>Paste Into. Press Ctrl+T to Free Transform the leather and hold Shift to constrain proportions and shrink the leather texture down until it is an appropriate size to make the texture realistic for his belt. Set the layer to “soft light” and 21% layer opacity. Press Ctrl+U and slide saturation left to -100 to desaturate it, as the texture is too bright and affecting the colour of his belt.

Step 15: Luminosity

Now we want to select all areas of luminosity in the image. First hide the background layers (click the eyeball icon of each unwanted layer in the layers palette) as we don’t want to include the background in this. This process varies for different Photoshop versions. For CS4 and CS5, use “Alt+Ctrl+2” (or “Opt+Cmd+2 on the Mac), for CS3 and earlier, use “Shift+Alt+Ctrl+~” (or the key equivalents if you’re using a mac). Press Shift+Ctrl+C to copy from every layer, and go to Edit>Paste in Place (or Edit>Paste Into for older Photoshop versions) and you’ll have a copy of all the brighter parts of the image. Set this layer to Linear Dodge and 49% layer opacity which will make everything more vibrant, then apply a Gaussian blur of 6.6px to simulate the way light scatters.

Step 16: Apply blurs for realism

The human eye can only focus on one thing at a time, if you apply this to your images they will seem more convincing. Use the lasso tool to select LeChuck’s lower half, including his sash. Press Shift+Ctrl+C then Crtrl+C and place the new layer at the top of the layer stack. Apply a very light Gaussian blur to make it appear slightly out of focus.

Repeat this process on LeChuck’s left (furthest away) arm, but instead apply a motion blur with an angle of 30 degrees and distance of 12px to make it appear as if LeChuck’s arm is in motion. Even something stylised and cartoony like this will benefit from such ‘real world’ rules. When you’re done, make the background layers visible again.

Quick Tip: Layer groups are extremely useful not only for keeping your layers organised, but also for moving elements around or editing things as a group. Try using groups for your characters and backgrounds in every image you make, just select all of the relevant layers in the layer palette by ‘Shift’ + ‘left clicking’ them then press ‘Ctrl’ + ‘g’.

Step 17: Digital Grain

Adding a digital grain is a neat little tip I picked up from Dan Luvisi (http://www.danluvisiart.com, who also made some of the texture custom brushes used in this tutorial) It adds a little texture to your image removing that very ‘digital’ look that traditional artists often sneer at without overpowering your artwork. Create a new layer at the top of the layer stack and name it “grain”. Fill the layer with a colour of R:125 G:125 B:125, then go to Filter> Noise> Add Noise, with amount set to 400%, distribution to Gaussian and tick the monochromatic box, and click ok.

Go to Filter> Brush Strokes> Spatter, with a spray radius of 10 and smoothness 5, then click ok. Then press Ctrl+F to repeat the application of the brush stroke filter.

Go to Filter> Blur> Blur (NOT Gaussian Blur). Set the layer to Overlay and 7% opacity.

Quick Tip: To get the most out of the grain effect, you will have to vary the opacity to suit each individual image. The opacity should be somewhere between 5% and 20%.

Step 18: Exclusive, fancy CS5 tip; add a glaze layer!!

In traditional painting artists often paint a layer of glaze over their finished painting to give it a little extra warmth and texture, and if you have CS5 you can now do this digitally. Create a new layer and name it “glaze”, set to Soft Light and 50% opacity. Select the mixer brush and set the mixing mode to “moist” from the dropdown menu and paint over the image with a mid-brown colour. Paint over the whole image, using brush strokes that fit the form of the image. Check the close up image of LeChuck’s hat to see the effect you’re going for.

And We’re Done!

You can view the final outcome below. I hope that you enjoyed this tutorial and would love to hear your feedback on the techniques and outcome:

I hope this guide has been helpful to you and that you can apply many of these principles to your future work. You can keep up to date with my artwork at my art blog http://coolsurface.blogspot.com and website www.CoolSurface.com

You should follow me on Twitter too: http://twitter.com/DavidCousens

Have fun,
David

PS. If you enjoyed this tutorial you may also want to look at my previous game inspired tutorial, the Legend of Zelda themed “Broken Link”

As part of our FanExtra Network launch, we will be publishing one tutorial every day for our launch week. We hope that you enjoy them.

You can also sign up for your FanExtra membership for just $1 for the first month (offer ends Friday 22nd, October). This will give you access to our hundreds of tutorial source files, members only tutorials, hundreds of textures/vectors/icons, and great design discounts! Sign Up Today.

FanExtra Launch Week:

DAY 1:

FanExtra Network Launch
Create a Google Docs Icon

DAY 2:

30 Minute Redesign – GymDJ
Master a Professional Photo-Retouching Workflow

DAY 3:

Design a Textured Portfolio Website

DAY 4:

Members Area Tutorial: Digital Painting Lesson: Scarecrow’s Joyride

DAY 5:

Create a Stylized Photo Montage From Scratch

DAY 6:

Design a Grungy Rock & Roll Gig Poster

DAY 7

Design an Awesome Paint Splattered Dancer

Members Only Tutorial

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Digital Painting Lesson: Scarecrow’s Joyride

Final Image

David Cousens is a highly respected digital artist, and his tutorials here at PSDFAN have always proved hugely popular. Today we are very lucky to have him return, and supply us with this awesome Halloween inspired tutorial.

The result of this tutorial is shown below:

What You Will Learn

As you can see below, this tutorial is very thorough, and teaches you plenty of essential digital painting techniques, as well as wider design theories:

• The workflow of a professional digital artist
• How to properly plan out your composition, utilizing industry-rules in order to give your composition maximum impact
• How to best draw in the lines for your image
• How to color your character and background accurately.
• How to integrate textures subtly, yet effectively into your digital painting work
• The benefits of working with custom brushes, and how best to use them
• How to enrich colors and lighting in your piece by working with overlay and adjustment layers
• How to give the impression of depth and perspective in your pieces
• & Much More!

Learn how to construct a basic line drawing as the basis for your work, working to the ‘rule of thirds’ and utilizing compositional tricks.

Learn all about color theory, and how different colors can be used to manipulate your viewer’s gaze, and making your piece even more stunning!

Extra Bonuses

As an extra bonus, with this tutorial pack you will not only be downloading the original layered source file for this tutorial, but the custom brushes used in the piece, as well as a custom water texture. Download the exclusive members-only tutorial pack today: