How to Trace a Photo in Rebelle: Ornamental Lamp

How to Trace a Photo in Rebelle: Ornamental Lamp

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00:01
[Music] welcome to the tracing layer series this is a four section series about the tracing layer system and in this particular section we are going to do this ornamental lamp and we will do it about 99 of uh total tracing and then just at the very end we'll maybe just use a pure color of our choice here and there just to give it some snap just to be able to review how to turn
00:36
off an influence layer and use the color we choose the photograph we're going to be working with is right here and that is the lamp guide and i named it lamp guide you will see here shortly why but just to review if you want to uh import your image go up to here hit file and then import image and you will come up with this uh box and then just go to wherever you have your images or image on your machine i will double click this and what i will even do
01:07
is just double click it and then when it opens this particular picture will open up the exact same size of the canvas uh now because the reason why is i made it uh the 3600 by 2400 which is the 2-3 format of the 35 millimeter uh camera i used so it is just the exact same size as this particular picture now with that in mind also to do single click it if i was happy where it was or i could actually manipulate it
01:39
make it larger bigger uh crop it before i set it in place but just remember if you start manipulating your picture too much or if you enlarge it too much then you may start to get artifacts that may give you color that you don't want so in that respect maybe review the photo selection section and that will help you pick better photos to paint from because i think the better the photo the better your painting will be because i'm working at 300 dpi and
02:10
that's that's pretty tight as far as that goes now what it'll do is it'll just import uh the picture whatever the file name is and this is the file name of this one and what i will do is actually call that one just tracing layer and what we could do is assign this to our tracing layer now this is uh how we could do that is just by either going up and just hitting the t here uh and that'll make it a tracing
02:42
layer or you can actually go up to here and go into layers and then just click on this tracing layer and that will make it a tracing layer or you could also use your shortcuts the keyboard shortcut for pc would be alt shift t and for mac it would be option shift t and that will make this your tracing layer now once you make this a tracing layer then you don't really even have to have it on now since it is the established tracing layer we are going to be pulling our colors
03:11
out of this particular photo meaning this particular layer but since it doesn't have to be on we could turn it off and then now it's off but now what we're seeing is this lamp guide layer down here which is this one right here what we are going to do with this one is take it down to about 50 and you can make this whatever percentage you want depending on the lightness or darkness of your photo uh may make the difference there but because it's
03:41
uh influence also that really doesn't matter because we're not going to be working on this layer at all this is just our guide that we're beginning to be painting over now these particular layers are the ones i'm going to be working on to start with and what they are is just again the chronological order of the photo itself so meaning that the back walls are just these walls back in here and then this front wall right here is this front wall right through here that's kind of ahead of this back wall
04:11
so when i go to paint over these edges i kind of want my edges to overlap what's behind them and then the lamp itself is in front of both of those and then just for the sake of having the stone handrail at the very foreground what i will do is paint that last but then also i could tone down any one of these as far as like this front wall here when i go to paint this hand rail i can even go back to the front wall and tone that down as far as opacity goes once i start painting it and then i will
04:43
be able to see my dark handrail again and then go back in and paint it and then i could of course do that the same thing with the stone handrail and turn it down with the opacity and then be able to just go back in and paint over the handrail so i could see it and then uh turn it back up to 100 of course but now what we will do now is actually go down here and we're just going to put in a new layer and call it pad and what i'm going to do is just show
05:14
you give you a rough idea of how many different ways you could pull paint out of this particular layer here and then this is just going to be our practice layer once we're done and once we show you what's going on with the brushes and pulling colors out then we will just delete this layer i did make this layer for a specific reason also and that is that anytime you add a layer after you already assign the tracing layer it's going to come up as a non-influenced layer and that is important because then we
05:46
wouldn't be pulling our colors out of our photograph anymore we would actually having to be picking our own colors so to make this an influence layer you could actually even just click it right here on this button uh or actually on this button up here you could turn it off and on and then also of course you could go up here into layer and click that off and on to make it an influence layer or turn it off and also uh your keyboard shortcuts which be pc
06:16
would be alt shift i and for the mac would be option shift i but if i click on that again now it's an influence layer and now if i go back up we could see how we could pull color out of this and the size of the brush is kind of important only for one big reason and that is no matter what size brush you have you are actually only going to be pulling the color out of where you touch down so wherever i
06:49
touch down that's the color i'm going to grab and keep in mind uh my settings for my color picker are 5 by 5 pixels which is the largest you can set it at but that's still an extremely small area that i'm working right now at 3600 by 2400 at 300 dpi so a 5x5 area is quite literally about 1 60 of an inch so you're pulling out a very small section of where you're touching especially if
07:19
you start making much bigger brushes so even though the brush is this big only the very center where i'm touching down is going to grab that color so if i go over here and grab this white then i'm going to be painting white over everything and and uh not using the colors that are all available within that area so in other words we do have to make uh the brush fit what we're painting so if i go down here and paint these ornamental uh frame
07:49
works in that hold the glass in place then i have to uh use that size of a brush but then keep in mind i'll zoom in even more that if i hold this down i'm only going to grab that color and it's going to stay that color until i let go but now that i let go i could still go back in and pull out new colors anywhere along that area if there is different colors in there it will grab it and then it will paint over what you
08:20
already have so you're never committing to any one color you could just keep on dabbing and re-grabbing and that will be the new color you grab and then if you want to then blend these in then i could go straight to my blender and i will take it down in size and what it'll do is it will blend the paints i already have down but i won't be able to grab any new color which that way then i could soften up some areas or diffuse some of the brush strokes if i want to uh
08:51
and and knowing that i will not be grabbing uh any new colors with a blender now the uh any of these tools that will lay down any type of color of value you could use to pull colors out of your photograph but the blender has no effect whatsoever even if it's an influence layer and remember for any reason if you want to use your own colors on a non-influenced layer by turning one of these buttons off and leaving it off will be a non-influenced layer you would be on
09:22
your own to pull your own colors out or to use your own colors but to do that if you want to use the colors that are within the photo then just to review all you have to do is go down here and then just say create color set from image file and just say we want 25 colors and then find again that same area where you kept that same photograph and what it'll do is make you a custom palette of all the photo photograph colors that are within that
09:52
photograph then this way you will have the alike colors that you may need of the variations without very little mixing involved for that reason you would be able to then go in and add your own colors if necessary on a non-influenced layer otherwise you'll just be pulling the colors out of your tracing layer okay now let's set up and get ready to paint what i will do is actually get rid of this layer
10:23
and we are done with that and then we can actually take it all the way back and fit it on screen and just to briefly go over what i will start is probably up in this corner and do all that back wall first and then do the front wall and then again the lamp and i will work on it with various size brushes and i may even introduce a couple of new layers for example the joints between the block i might put a new layer above the back wall
10:54
and then that way if i want to do the joints it will still be behind everything else but it will be on top of the wall then that way if i want to adjust the joints here or there or blend them in a little bit or soften them i'll be able to without destroying or changing or interrupting my back wall layer again i try to use layers for myself to my advantage uh and then what we will end up with is just the stone handrail at the very end and i will also be uh actually
11:25
explaining what i'm doing as i do it in the speed painting and we also will stop here and there just for a real-time update so let's get started on the speed painting okay i'm just starting up in the upper left hand corner working in my lights and darks or whatever the photograph has to offer moving down in i will just cover up this railing and i will reintroduce it later on its own uh layer then that way i could turn down the layer that it's over so i can actually see where it's at
11:56
i'll just turn down the opacity uh and then that way it'll reveal the railing exactly where it's at now blending in the colors and destroying some of the brush strokes i want to do that because i'd rather keep my hard edges where i want them right now there are many hard edges throughout all the different brush strokes and softening them up will preserve my hard edges for just where i want them now i turned down the opacity just to find that hard edge for the shadowed area of the back wall and now just finishing
12:27
in the back wall i went ahead and turned it down again so i could see my hard edges where i want them and then now just working in the shadow of the lamp itself it is uh on its own layers too and all i did was stagger the uh wall layers uh so i could put the sections of the shadow of the lamp uh on the uh layer that's in front of the one behind it then that way again i could turn it down
12:57
uh and turn down the opacity and then that way i could see where the actual uh lamp shadow is right now i'm just diffusing uh all the ledges in the darker areas foreground again just to kill some of the brush strokes now i'll go ahead and just put in uh the hand rail on its own layer and that will be it this way i could see where it's going to be and you'll see it come alive when i turn the opacity back up
13:34
just an update uh in real time uh just to go over some of the things that might happen a little too quick in the speed painting i went ahead and added a layer uh for the hand rail down here and that'll give me a couple of options one of them is then i could go back to the back wall layer and work in behind it if i do want to touch anything up behind there or even just like since i created different layers for these foreground walls then i could go back in as you might have seen while i was blending i went back in behind them and that gives me the option of keeping my brush
14:05
strokes broken up and then also more importantly it also gives me the option of going back to the back wall and then changing the opacity so i can actually see where the handrail is exactly because that metal handrail is fairly fine and to try and paint around it uh instead of doing that uh basically it's it's much easier just to do it the way we did it and that way uh you'll be doing the photograph more precisely now if you wanted to just freehand that
14:35
handrail in or something along those lines that's obviously an option also but keeping with that method that is also what i did uh with the lamp shadow itself and what i did was i actually put the lamp shadow and started it on the actual front wall and then that gave me the option of being able to turn down the opacity on the back wall also and then when i do this section of the shadow i will actually put it on the stone handrail layer and then that way i'll be able to turn this layer down and to see where that shadow is exactly
15:07
also because we are duplicating over the photograph and it's just much easier to be able to see where those edges are and then what i will actually do is the lamp and uh it will have all hard edges so hopefully it will jump out at us nice now one thing we do need to go over and that is uh down here in this corner we decided we're going to take this little light uh corner of the wall out of it and it might be better off just a dark in here now we could do that a couple of different ways
15:37
once we start painting this in we could use the uh the actual stamper tool the clone tool to just take those brush strokes back over this area or we can actually cut out a section and copy and paste it over there if you find a similar uh value area of colors and and value or we can actually just turn off the influence layer of the back wall and then start using our own colors to just kind of more or less scumble that over
16:08
because keep in mind if we do keep an influence layer then you're gonna have to pull all your colors from around it and then pull them across because remember as long as we hold down until we let go we're gonna keep that same color but what we might be doing is creating a linear pattern that might be a little wee bit too obvious as far as the cross hatch i had going all over everywhere it's going to be a different look down here in the corner and for me personally i would not want to uh
16:39
pull any uh actual attention to just my brush strokes because when you have a big heavy gobby brush strokes and oils you might actually uh attract attention to the brush stroke itself and not what the brush stroke is trying to represent uh with that said uh we're gonna go back in and finish uh this painting up and we will also then uh put in the uh block joints the mortar joints uh on its own layer also that will be the very end and that way
17:11
we'll also be able to feather those in uh here and there and just give like a hint or a rendering of some of the joints uh as we go but this will give us an option if we put them on our own layer that we could adjust them change them erase some of them and we won't be committing uh into putting those in uh as far as on the back wall layer they will be on their own layer oh let's go back in and get some more done okay here i'm just working in the shadow
17:43
itself of the lamppost and again i put it on its own layer so i could uh uh tone down the opacity of uh the layers that are around it then that way i could see the edges of the shadow itself and some of those edges i want real nice and sharp so i want to see exactly where i'm going right now i'm just doing the real ornamentation of the lamp itself and it has a pebble uh finished glass on it that kind of refracts a light in a specific way so sometimes if you know even uh the
18:14
exactly what you're doing uh as far as what type of object you're doing it it will help uh actually uh render the object better knowing what the colors represent and when i go back in and blend in some of these areas i will leave some of the brush strokes here and there uh very pronounced just to have that oil painting look now when i'm going with the uh the patina uh the corroded uh metal draining down onto the sandstone it has a very linear pattern since it is
18:49
a liquid running down and what i will do is keep my brush strokes to that linear pattern just to help render that pattern the way it is now again i'm just going to paint over that railing that i will repaint later and and turn the opacity away down on the painting layer that i'm painting right now soften up some of these edges and then just leave the paint strokes that i want and then i could always go back in and put some more in this dark corner we're painting around
19:30
that object we're going to take out with freehand here shortly and then now i'm just going back in and putting in uh the handrail right here is where i took out some of the handrail uh that i just broke away from the photo and chose to uh make the handrail more parallel ends and edges uh than than it was now the joints on their own layer that way i could change them if i need to and that's it okay that is the end of the speed
20:04
painting and just to recap quickly i went ahead and copied over uh three of those layers uh the three that i merged then that way if you ever want your uh to give yourself an opportunity to go back and just clean things up or just uh rearrange things at a later time it'll give yourself an option uh to start previously in the painting again that is just uh if you're in the phase of of of learning the pain also the the
20:34
best is to try and give yourself as many options as you can uh that way uh you can again go back but now uh since i went ahead and put the mortar joints which is right here on their own layer we decided we are going to go down and finish this by hand but then what i'll be able to do is go back in and finish this with just our own colors and that will be back down here the stone handrail layer is actually the back wall layer the original back wall layer
21:05
so if i turn it off that would be it and then what i will actually do is just finish this up and paint on it but what we could do is we'll turn off the influence layer and that's all you have to do but now you could still trace as long as you could see what you're tracing whether you turned on the opacities of some of the layers or whether you could still see what would be considered your lamp guide just your guide layer and then you could still trace but then you would just be on your own when it comes to picking colors now that's what i did very early
21:37
in the cardinal painting when i made the cardinal painting with freehand i started very early with freehand if you go back and review that particular section what i did was i turned off the influence layers early but then i also already had a base scumble code down of colors and that was it i could not see the uh the actual guide anymore i was actually working off of the same picture on a different monitor
22:08
so just to answer some questions that were out there uh previously as long as you have your influence layer off you are on your own picking out your own colors but then uh you may also be uh on your own with free hand too if you're already this opaque paint and you have to start painting on your own now we are just going to cover this over so being that we turn off the influence layer we will probably use these four colors right here this one this one this one and this one and then
22:39
keep in mind all of these colors in here you can actually go back in and just pick up the eyedropper and start picking some of these colors out of here if you want to use those same colors also but i'm just going to go back in and just manually pick the colors and we're just going to stumble over that and blend this in and that will be it let's uh do that right now and i'm going to make the brush a little bit bigger and what we'll do is now we already turned our influence layer off so we are
23:10
on our own we will actually be using this color right here if we do but i'm gonna go down and pick this color and then we'll start just down here and then we can cross hatch them and mix them together so that's no big deal and then once we start blending but now again i'm using my own colors so i can actually go back in and change the colors around if i want to and then now that i have the mortar joints above
23:42
this layer i'm working on i don't have to worry about painting i'll be painting in underneath them so they will stay right where they're at and we're going to go back to this color and get a little bit more darker color and just mix it in and then that's it and i will go right back to the blender we're gonna make it bigger and i'm gonna just soften these edges up a little bit and again i'll be working right underneath those mortar joints we don't have to worry about those and then obviously keep in mind uh once
24:17
everything's done you can merge all the layers together and then blend in even more uh of your colors or paint more of your colors whatever you want to do uh when everything is all on the same layer and that would be it there that would be considered done if i fit it on a screen i do like it better without that little corner uh this entire painting would probably be almost considered a car screw painting with really uh bright lights and and
24:48
real dark darks with the black lamp and again that's what we talked about at the beginning where uh the black lamp is gonna really jump out at you up up against that light background and then the same thing with this uh right here as far as this front wall being it's in the light also and then the way the light is splashing on these back walls it really makes some nice cuts uh of different places and then even the hand rail i often use the term of lost in founds and what i mean by that is
25:18
a lost is a place like down in here where this handrail starts to blend in with the background and you completely lose it but then the founds are like where this real dark hand rail is up against a very light background it'll tend to jump out at you and that will give a 3d effect but then the the lost tend to create a three-dimensional movement and starts tying the pieces of the painting together but again we could go back over and do some different things and put some little gobs of paint here
25:50
and there but again that would be your artistic license to take it uh wherever you want to from here but we did this little wee bit free hand and that's all we were going to do on this one was just a little wee bit and that way we just reviewed how to turn off uh the influence layer and this painting would be considered done but first let's take a look at even just the base of this picture the painting itself as far as the front wall goes
26:21
and what i wanted to show you is just how loose it really is it tightens up a little bit when you fit it on screen but it is just really hunks of color of paint here and there that make up the painting itself but what i wanted to show you more importantly was like just say for example this highlight right here on the lamp and then some of the streaks of the uh of the uh patina fading and dripping down onto the stone uh the reason why is because i was very selective when i was blending i just wasn't randomly blending i wanted to blend
26:52
in certain areas for certain reasons and that is to leave certain hunks of paint here and there such as this highlight or some of the the hard blues or purples on the railing to give it that iron steel forged look uh even the same thing over here there's a little bit right here of a of a bluish purple and then uh then also again just the different colors uh that make up all of the uh the actual patina uh draining down off of
27:23
the copper uh but again like i said uh it's just to show you uh that um it's really just hunks of color that once i fit it back on screen it tightens up a little bit more and it doesn't have that individual paint stroke look to it but with that said this painting is finished now we'll go on to a new picture and discuss some advanced techniques that we could do with the tracing layer
27:55
okay we opened up a new photo here and this is just a close-up of water lily plenty of color plenty of contrast in the bright sunlight of midday something we could use to our advantage for a couple of different options here let's take a look at them now the first one we'll use is actually use the masking layer along with the tracing layer but first what i have to do is get a little bit of this flower done and it will be on its own uh layer but what i will do is again the same
28:26
thing i will go up here and assign the tracing layer to the tracing layer uh right there and then now that one's locked and i could turn it off and then i already made my water lily guide uh about 40 percent just made a little bit lighter than the last time but again you could make it as any adjustment you want depending on what the photograph is more importantly now what i'm going to do is i'm going to go ahead and just get some of this flower done through speed painting and then we'll see how we could
28:56
use a few more options to help us uh get a painting done several different ways so let's move into the speed painting okay again i'm just following the uh the shapes of the petals uh painting the the back ones first and then overlapping the closer petals uh just with the brush strokes and i will just lay in the colors for now and then go back in and blend the brush strokes a little bit uh the only difference is this time i'm using a blending brush
29:27
that actually has more of a brush stroke streaky pattern versus just the the soft brush i used the last time in the lamp post now we'll just move in and see what we could do with the turquoise layer okay uh we got enough of the speed painting done what i wanted to do is just get the out outer perimeter done and just to give us something to work with but right now what i wanted to do was if i wanted to make this a masking layer uh that'll
30:01
give us a couple of options if we do that but first we need to see uh just how well we painted it in and just to see if there's actually any painting missing uh paint itself and there's a very basic way we could check that and what we'll do is just go down to this layer and since uh it will create a layer above that one a new layer we're going to call this one cobalt turquoise now the reason for that is what i need
30:34
is a color that doesn't have anything to do with the painting at all so what i will do is i'll stay on this layer i'll go up and get my fill bucket go down and grab my cobalt turquoise right here and then just fill the background but now you could see that there is some areas where i missed as far as uh where there's no paint at all so whether you use a masking layer or if you even use the transparent lock that would make a difference if you use
31:06
a masking layer then color would be able to get into those areas and contaminate that part of the flower wherever you see cobalt turquoise with a transparent lock you might start painting back over the flower but you wouldn't be able to paint these areas that are cobalt turquoise because they're not already covered with paint so for that reason we'll go back over and i'll just get all of those areas out here uh just in the speed part and what i
31:37
will do is leave the cobalt turquoise there and then go back over and either repaint or re-blend those areas just so we don't have any cobalt turquoise showing in the flower that we have done so far so let's go ahead and take care of that okay this would be the best time to note that as long as my tracing layer is the original photograph that is where all the colors are coming from so that i could slowly work over and cover all the turquoise color okay now that i went back in and just
32:13
filled in the gaps on the flower of what i had done it would be a pretty clean layer to use for a transparent lock or a masking layer i'll go back up and close these out we're not using those at all right now but what i can do is i will turn this off and now here's our flower so keep in mind if i make this a masking layer now again i could either go up here and just hit m uh or go up here to the uh layer drop down and then either just hit
32:42
click on masking fluid layer or alt shift m for the pc users and option shift m for the mac users since i'm already here i'll just click on that and make it a masking layer then now it will be locked and now the only thing to consider is when this is a masking layer you could use a masking layer for whatever reasons you need to with the tracing layer but then they share the influence layers and what i mean by that is if i click off of the influence layer
33:14
then this layer will not pertain to the mask anymore i would be able to paint right over my mask area because it's not influenced anymore but i would also be on my own with my own colors because now it's not an influence layer for a tracing layer either so that's just something to consider that as long as you uh have your influence layers it will be a tracing layer and a masking layer in use also so if this is your mask layer then this is the layer that will be protected which is the flower that i have painted
33:46
so far now with that said if i say for example go up to the green pads and then actually uh want to paint something i can actually go back in here i will grab a brush make it a little bit bigger and i will zoom in a little bit and then if i start grabbing some of these greens uh from from the pads and pull them in that will be a protected layer now keep in mind this green pad is above the flower so it
34:18
should be painting on top of the flower but since it's actually a mask layer it will actually be protected now the only difference is is you could see what i'm doing here to a certain extent that i'm pulling all my colors and going back into the flower because if i do that up here in the water it will still work but keep in mind if i start from the flower and go out i'll still be able to pull
34:48
colors out of the flower and then into my other area as far as whatever area i'm working but it will still protect the flower area i won't be able to paint on the flower except for the areas that are not protected or previously painted so i can't paint anything on here it's not going to paint since it is a protected mask area but i will still be able to pull colors out of that area so for that reason i would have to actually keep pulling colors into that area but this is just another
35:20
option that if you wanted to use the masking layer along with the tracing layer for whatever reason you would need it to be masked any area that you're painting would be masked you could use the masking layer along with that now if i go back up here and then i can even erase this out since it's a protected area i'll just get rid of that paint that's it i could start all over again with that cleaned out area but what i can also do then is just keep in mind say for example you wanted to keep this
35:52
flower the way it was and keep it as a mask layer then you can even import another photograph and put it in over the the water lily guide layer here i have you could then put another layer above this one and then work from that photo and and pull colors from it providing that you make it the tracing layer so as long as you pull the tr uh the colors from your tracing layer then that could even be a different photo because here's a spoiler alert for the next set of options
36:22
you can create uh any layer the tracing layer as many times as you want back and forth so that can also help you as far as uh if you want to change things up and not necessarily just have to use one photo okay we could use more than one photo if you want to get creative but we can also use the same photo and what i mean by that is i'm going to go down first i'm going to open this group up and i'm going to re-salvage the flower layer of what we already have a
36:53
painted and i'm going to take it off the masking layer so i could slide it up here above the green pads in this group and then i will turn these on and this is going to be the group we're going to be working with now and we're done with this group so i'll close it down and turn it off but now that we have this layer up here this is the same photo we were working from but what i'm going to do this time is i'm going to duplicate it over and then now here's a duplicate of the exact same layer but what we're going to
37:25
do is go up into filter and then hit desaturate and we're going to make a black and white version out of the exact same photo and then that looks pretty good right there i don't want to lose that bright uh sunny day look at mid-afternoon in the black and white values so i will actually apply that now we have a black and white version and a color version now we know that we don't need to have either one of these on if we use them as tracing layers but
37:55
what we could actually do is make either one of those the tracing layer at any time in photography a lot of photographers like to work with black and white and color in the same photo they'll either make an object in color or black and white and then the rest of the photo just the exact opposite so if we have a full color flower and then we can actually make the rest of the background in black and white now again that could be done in any photograph
38:26
with any subject so now if we go up to the tracing layer here but in the black and white version we know how to make it the tracing layer so we just click on the t and now i would be pulling my colors out of the black and white version so if i go down to the green pads layer and just say for example i go up here and grab a brush i'll make it a little bit bigger and then if i start working in the water is the darkest part of that color here's the black and white version
38:58
now these are the colors we would be pulling out of and then obviously we would still have a full color flower so if i turn that off and if i start grabbing the blacks of the water it's the darkest part of the flower and i could start painting this all in and make the entire background black and white or any parts of it and the reason why again is i could take
39:33
the actual layers and make them the tracing layer anytime i want as many times as i want so if i want to go back into the color layer and make it the tracing layer again now all you gotta do is make it a t and then that's it it's now the tracing layer if i go back to any influence layer or new layer that i create and assign an influence layer to it then that's the colors i would be pulling out of the full color if i go back up to the black and white version and take it back to the tracing
40:10
layer and make it the tracing layer now again i will actually go back to the green pads and then i will actually be pulling my colors or values out of the black and white version meaning that i can actually then create parts of the photo in full color and other parts of the photo in black and white uh i go to my blender
40:40
and i will actually go back to the uh one i was using previously make it a little bit bigger and i could soften this up and then just bring that down and i would be getting rid of any brush strokes that i have but again uh this is another option that if you want to combine uh your photograph and combine it with a black and white version and then paint both of them
41:11
then you can actually then have uh go back up to the brush and and go back to these lily pads here and i would only be painting them in the black and white version and the key thing to remember here is we can assign one layer the tracing layer as many times as we want to as many different layers as we want but then obviously we can only have one tracing layer at a time but the amount of times
41:42
we do it is up to us and then we can actually just color this in and i'm trying to lift up and put down as many times as i can then if i go straight into my blender i have my toggles again set the front toggle the front toggle is uh a color picker and the back toggle goes right to my blender so when i do paint freehand uh that is pretty quick for me as to how i can change
42:17
my colors and then also start blending but here again we could do the tracing layer assign it to one layer as many times as we want now keep in mind uh that can even uh open up one last set of options and that would be for those who paint in the grayscale method then you can actually uh just paint in your whole entire photograph in gray values and then go back to your
42:49
color layer and assign it the tracing layer and then start going over lightly change the opacity of your brush and then going over lightly over the gray values uh with with the color and then you'd already have your shading already there uh if you choose to go that route and create a little bit more of a of a unique look versus just taking the colors completely from the photograph now with that said uh that is the end of
43:21
this section and hopefully it helped you in some way shape or form and uh if you do get a chance to use a tracing layer system uh hopefully this gave you some options uh just to help your creativity along and hopefully this will help you and until we see you out in the field or in the studio again next time thanks for watching bye for now

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