Narrated Keva Portrait

Narrated Keva Portrait

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Language: English

Type: Robot

Number of phrases: 422

Number of words: 2607

Number of symbols: 10748

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Subtitles generated by robot
00:01
hello this is a narration of a portrait that i did in fact this was a commission i did for someone and it's a portrait of a dog and here we go starting off in infinite painter again to get the basic shapes in as you can see that's a very simple shape but actually once you see how it goes on that shape is pretty much all there is to the painting and that's the way it is sometimes but it
00:31
um that's very important um just the shape language that you spot and uh roughly put in the eyes got to get them in the right place of course and just splashing things in i do really like the infinite painter brushes they're the best brushes i've found on a tablet um they just feel really nice and just get airing everything roughly in place getting the contrast as you can see the focus is
01:00
simply going to be the face and the rest doesn't really matter that much and the eyes are going to be the most important as well and just get them roughly in the right place at the moment for when i start to apply some detail as you can see the details already start to come in the lighter colors are starting to come in it's already coming in quite well now this is imported into artrage so let the detail commence everything is
01:32
roughly in place and now i just need to start to refine at the moment i'm just playing around with some brushes i'm just using a um a preset here which i don't often use um typically with the oil brush i set it to default values and then play around with things but i thought i want some kind of stiff brush in here to emphasize the hair so i've created a separate layer and just using white and just seeing how it works
02:04
as you can see there i'm just laying in um now i would have said again i think i may have mentioned this in my previous videos that i set typically when i import from infinite painter or anything else and then start working on it i want it to look like a traditional painting so you can see the brush strokes so this is a layer set to multiply set to bright white and i thought rather than setting the stiffness all the way down which i usually do and keeping thinnest to zero i would just try and set something that
02:36
is still quite stiff um because my idea was then that would look a bit more like hair when i actually apply it so this is what i'm doing here i'm just flicking it over the face just to make so this has an interesting fact that i'm actually using the um the visibility of the thickness of paint to look like fur to add in that bit of detail this was now this is something i thought i would experiment with and though i was just um toying with it
03:08
a bit toggling on and off to see whether it worked okay and now i am just applying it again and wanting really to get into the eyes because i know that they're going to be the most important they don't look great at the moment but i wanted to get straight in there and just add some detail i think overall there's a fair amount of work that is required on this because the import was fairly rough
03:45
overall and but um the contrast is the most important thing i wanted as you can see the head is almost black totally and then it provides a nice and this this was actually pretty much what the reference image looked like as well so that was quite handy i didn't really need to enhance anything it almost worked perfectly for me regarding having the head stared out automatically anyway and here i have set it to palette knife
04:15
my usual settings maybe 75 or maybe two-thirds up of both so it enables me to pull the paint around to simulate some kind of fur on him and also it adds in um all my lines and a tiny bit of blending and adds in extra detail it um it's one of my favorite tools actually in artrage because it can almost do anything and i really do like just slapping the paint down roughly and then starting to pull it around that's kind of my preferred technique
04:53
as you can see i'm just adding in the detail the fur and then the eyes i'm kind of coming back to every now and again and it's getting there it's i've decided in the end not to just go diving into the eyes and getting them absolutely perfect i'm doing a bit coming back out doing some fur and then diving back into the eyes again and again pulling things around you can see the fur start to come out quite a lot now and what's also quite useful regarding using the palette knife is to pull out the edges of
05:27
the focal character especially when it's an animal you can pull out the fur quite nicely and instantly it starts to look more natural and fits into the scene much better again popping into the eye and then back out again tidying this area up here because it wasn't that great and as you can see what i was talking about before just pulling those shapes out pulling it out they were very simple before they didn't have any definition or anything but using the palette knife
06:01
it gives some nice edges but also blends a bit towards the edges and then on here you can see the fur coming out and it's not just a straight line because as i said it blends slightly as well so it looks more natural and the details really coming in now possibly a bit too much i'm not quite sure yet i don't usually go too much overboard with all these things sometimes i use
06:35
the ink pen as you can see here i've got the ink pen selected now what i use that for typically is when i'm doing the pupils because i set it on quite high opacity and what the ink pen generally gives you is just a straightforward circle it's a very simple tool it does give some tapering as well but what i use is quite a blunt instrument to just for example you could go in there and do the pupil and do it circular although whenever i try and do i can never get it to be exactly circular
07:07
which may be not such a bad thing because it looks more natural but as a little shortcut what i tend to do is go into the ink pen select black and then just dot it dot it there and then you'll get an absolute perfect circle because of the way the ink pen works on full opacity and it's just a solid color coming out as well and certainly for the pupil a lot of the time it's going to be a solid black so it's almost well why not let's just
07:39
let's just get that in there and it certainly will be a solid black with this regarding how how this pose is situated flipping it a few times as well just to make sure because when you flip it it's almost like it resets your eyesight completely and you get a new perspective so you can see how it's going on and i think it looks okay although as you can see i'm not quite happy with that eye and here at the moment i'm into warp mode and i was just thinking about just squeezing it just making a bit smaller
08:10
it doesn't when i flipped it i think it was immediately apparent that this eye wasn't looking too great and again i just moved it slightly i just used the um the brush on move just to move it down and typically what i do also after a warp is i undo and then redo so control z and control y just to see whether it makes any difference or not whether it has actually improved the overall images and it's all these small
08:41
changes that you make that's one small change to the eye and then when i flip it again i may spot something else and then around this time i do have a habit of using the warp tool quite a lot just to tweak things around because all the paint's there a lot of the detail is already there and i don't really want to repaint things as you normally would traditionally and this is a great thing about digital is that with moving the eye what you typically do is just paint it completely out and then redo it but then you might lose the eye slightly and may still not be in the right place you're
09:12
fiddling around with it forever but with this with the warp tool you have everything there it's just a case of moving some pixels around into the right places which is really useful and here as you can see i imported a texture that i took and i think if i remember correctly this may be a texture of a hot water bottle that i've got and i've just overlaid it because i had an idea that if you see that i thought i wanted to overlay something with a lot of texture in but take the
09:45
opacity way down so that was before and rather than because you know i'm lazy sometimes well quite a lot of the time regarding my painting and then i as you can see there you have all the detail on the on the main face but um they're kind of almost some blank areas here some areas with not so much detail and that's not necessarily a bad thing when you're doing a portrait but i just felt that i wanted a bit more detail around here now what i could do is come in and start painting all this
10:16
detail but i the nature of it i wanted it to be quite textual um as some kind of material but i couldn't really be bothered to do all that so i had an idea well yeah i remember taking a picture of this hot water bottle with all this fur on and i think if i overlaid it in then it and then reduce the opacity a lot you know very subtle change it will save me having to paint all that it wouldn't look artificial and it would just add an extra level of interest
10:48
so let's see how that went so that's imported in and then as you can see i'll change the opacity very very subtly and and try to import something there as well as you can see that is a picture i took of a mat that i've got at home because i thought that might work well behind the dog and then again uh play around with the um blending modes this time rather than the opacity but that didn't really work too well so
11:19
i wanted extra detail on the back here as you can see there there's not much detail so what i went into is i went into the sticker brush and i um i've got different categories and i've got a whole load of um different brushes that i've created and i wanted just to overlay something on multiply in the background just to see whether because uh because i don't want to draw attention too much to it i don't want you know your eyes almost drawn to this bright part up here and given the fact i've put in extra
11:51
detail in the foreground i wanted to put a bit of detail in the background but not make it too much not too obvious so here i was just playing around some of the brush the texture brushes that i've created just to try and apply a bit of grunge just to add a bit of extra interest and to darken it up as well i think that's working quite well and as you can see all these little changes are really starting to push push the level of detail in quite a quick and easy way i mean just imagine if i went through and just
12:23
painted all these bits it would take ages to do all that but i just can't be asked but the idea was there in my head of what i wanted to do and it's a tool to use and it's digital art so why not um and as you can see here there are some like white areas which you always got to be careful on which don't quite look right of course the light's not really going to get um oh hang on oh yeah i don't think it doesn't quite look right that the light's going to get there so i may have to tidy those up and as you can see i'm just going in
12:55
there and taking them out but again this actual face is all on a separate layer so that's very easy to do i can just use the eraser here and um uh just a little bit of softness so it takes the edges off so i don't get quite a full edge on it it's kind of at the tiding up stage really the idea is pretty much there and as it's a commission piece i just want to absolutely make sure that it's going to work playing around
13:26
with some texts again it's just playing around and then as you see there just absolutely that this at times is a bit of my go-to texture that i took um of uh as you you can see exactly what it is but i always like this one to import it because one it's got a nice interesting focal point and then things coming out from it but also it's almost mono as well so therefore it's gonna
13:56
import it in and depending if you do a multiply or something or even a screen it's going to give some quite interesting just subtle textures so i'm just seeing whether it work or not it may be very very subtle and again i'm playing with some blend modes to see whether it work and i think generally generally i'll leave it in but it's it's very very subtle it's like on a very very low opacity um here i'm just uh i just changed the saturation slightly there
14:27
um because i felt it just didn't quite feel as if it was see there and then to there i just wanted it to pop a bit more overall and just increase the contrast slightly on it which is something you can do in art rage art rage have some simple simple filters regarding that so you can do something but that just again it's a very subtle change but it just adds an extra level of extra level of interest i think [Music]
14:59
and that is pretty much it overall so there we go that's how i approach a animal portrait typically and that's how i did my commission thank you very much for watching

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