Jama Jurabaev 37-39
4. Painting Methods---2-1.Transparency Techniques
P37 - 00:00
Let’s talk about transparent versus opaque techniques. it's the same case what we had with line drawing versus shapes.
P37 - 00:12探讨透明和不透明。
There are definite advantages and disadvantages of each method.
P37 - 00:17不同方法各有千秋。
So I will do my best to kind of guide you through. So let's say we start with the ugliest and most simplest brush in the world,
P37 - 00:25从最简单的画笔开始。
just the simple round brush over here, minus 600 size.
P37 - 00:31圆刷子600大小。
But it doesn't really matter. It's basically the brush that gives you kind of really soft painting stuff.
P37 - 00:41绘制的质地非常软。
And whenever we start as a digital artist, most of us go and start painting with this brush because it's so easy.
P37 - 00:50因为这刷子很容易。
It's kind of doesn't have any texture, very the pressure sensitive.
P37 - 00:56没有质感，笔触很好。
And we kind of start with this brush and do all our paintings for them.
P37 - 01:00从刷子开始进行绘制。
and I wouldn't say it's the most ugliest brush. Even though I use that term, it is an ugly brush. Because when we started, we didn't know how to use it.
P37 - 01:11因为我们开始用的时候不会用。
but actually It's a very, very powerful brush.
P37 - 01:13还是很强大的刷子。
Because what it gives you a naturally, it's this gradual transition. And it gives you a really nice gradient.
P37 - 01:20给了梯度的蜕变。
What you wouldn't have if you were using like, a back brush is like flat brush without no transparency.
P37 - 01:33好过没透明度的黑刷子。
So this is where the trade of starts.whenever you’re using opacity brush is like this.
P37 - 01:41当开始用不透明刷子的时候。
You need to bring in some light hearted ages. Basically, if you're using the same opaque brush, all you do is decrease the size of your brush and start introducing a little bit sharper elements and stuff like that.
P37 - 01:54降低刷子大小，刷入更锐利的。
That’s what you do naturally to kind of it's almost like we're finding things and you constantly decreasing your brush size and kind of zooming in and started painting all that stuff.
P37 - 02:15缩小画刷后放大进行绘制。
which is refining everything and I saw kids stuff like that. So when we just started when we were young artist who really don't know how to use it, that's why it looks ugly.
P37 - 02:31不知道如何用的时候才简陋。
But actually what you like a mature artist. It's very good brush because it gives you the freedom to make changes.
P37 - 02:39给自由去变化。
Nothing is very solid. So I would say opaque brush is more like a suggestion.
P37 - 02:46不透明的刷子是个建议。
Suggested detailed. and transparency brush suggestion an opaque on the back wall. It's more like a statement. This is a statement.
P37 - 03:05黑色的像是某种声明。
For example, if you put something, let's say like this. This describes the former, there is no doubt about it. And this is something vertical could be rocketed. Could be a person standing, you're making a statement,
P37 - 03:29黑刷子实体形状就是表明态度。
but when you’re using soft brushes, the ones that have a opacity. You're suggesting that they let's do the same figure with the same kind of method at the same pose.
P37 - 03:40用不透明刷子绘制同样角色姿态。
But it's very suggestive. Like any time you can go and tweak it,
P37 - 03:44可以去调整。
you can change it quickly. On the other hand, it stays pretty loose. And you need to refine. You need to put some more Information,
P37 - 03:55调整放入细节信息。
kind of so let's just put this guy side by side.
P37 - 04:00黑色不透明的放在一起。
So you see this guy over here. This guy over here. So what we will be doing in this guy, we will be refining, you will be putting more effort to kind of refining the shapes and giving him more definite forms.
P37 - 04:27给清晰的外形。
And we will be doing it with this guy, you will be bringing some of these gradient inside these guys to start refining shapes in keeping game, like lighting Information and all other stuff.
P37 - 04:39给黑实体加入一些光亮。
So actually they kind of complement each other because what we're basically doing on this one, we're moving towards that guy and this guy, we're kind of moving towards this guy.
P37 - 04:52两个角色相互转化。
So the best thing is to meet someone between when you're using this method, you still bringing some of the hard lines,
P37 - 05:03用不透明度可以加入硬冷的线条。
just to make a statement to kind of we suggest something. And then you bring this statement. that's it. That's the hell that.
P37 - 05:13不透明的黑线条像是标注建议。
And then you suggest, again, you take a soft brush and you say, it's like this guy. And then you go on start suggesting the lighting.
P37 - 05:30用刷子涂上光。
is rolling down. Introducing those gradient. That's too hard to get. If you were using the hard brush.
P37 - 05:41用硬刷子很难加入梯度。
and it's faster. So once you introduce the hard lines that kind of smudge them to get the position back, and the more you do it, the more like photo real the more complicated that your design becomes.
P37 - 05:56越是模糊离观众越远，越复杂。
So these tools, basically they complete each other. Sometimes you need to use a soft brush to kind of or emphasize your design or trick to actually kind of drop are the focal point.
P37 - 06:11软刷子强调设计，放入聚焦点。
And the focal point is the one that has most conscious attitudes, has the most kind of refinement. I can say that.
P37 - 06:20专注点刻意做到黑白对比的。
So that's why you using those opacity brushes to bring those back to bringing the statements back into actually kind of describe the form precisely.
P37 - 06:31不透明度打底，黑色描述轮廓。
But afterwards you got it backwards. That kind of margin to knock it back. To balance those two guys together.
P37 - 06:44不透明度和黑色平衡。
So as I already said, they complement each other and they should work as a single kind of design tool.
P37 - 06:54互补成为单独的设计工具。
because for example, using of backlash as you can introduce some really cool effects like, for example. Like high elements of those guys.
P37 - 07:02比如右键对比加入高光。
At the same time, you can do those with the, adding a little bit of lights here and there.
P37 - 07:21加入一点高光。
So it's all about going back and forth.
P37 - 07:28来来回回的调整。
There is no single way of doing things. It's all about going back and forth and knowing when you need 1 of them or when you need another one.
P37 - 07:44技术混合起来的。
We got astronaut. And you bring back refine more statements. And having those together with soft brushes, gives you more control.
P37 - 08:02软刷子可控性。
So overall, I would say, if you just learning and the very confident kind of bold statement.
P37 - 08:10黑块的声明若是可以用好。
Because bold statement still need a little bit more knowledge in terms of the way you paint like you put the shape you need to know exactly.
P37 - 08:19如同你非常清楚你绘制的形状。
That is the shape you're going after. Or you use soft brushes to suggest yourself. Do just suggest yourself the details.
P37 - 08:29软刷子创建一些细节。
And then you refine them, or you use something in between a brush that has both features of it,
P37 - 08:36或者用有特征的刷子。
like for example, these brush you has both of them. If you press like if you hold it firmly Like give you nice tool, if you just press lightly to give you this kind of a opacity kind of size. and if you just brush lightly, like this guy of opacity and also a touch of variety. because it has this gradient kind of field to it.
P37 - 08:57不透明度 变异 梯度。
sometimes you just need to use this kind of brush because they pulled suggest and at the same time when you press firmly.
P37 - 09:08不透明度用黑刷子按住硬建议。
It will make bold statements.
P37 - 09:10不透明上加入黑色条带。
it will create a solid Kind of strokes.
P37 - 09:17创建坚实的纹理。
But then you go loose again and you start refining putting some loose stuff.
P37 - 09:23轻轻的扫，做些调整。
Like you see putting a loose stuff here and there. That I’m going back and I’m actually putting in more precise brush strokes.
P37 - 09:36可以再次加入精准的刷子。
as you can see, combining those two, I was able quickly to put some loose shape to find them supporting them with some bold statements and use a brush that give me controlled to have a really nice gradient.
P37 - 10:57硬线条软线条结合起来。
So I end up having a good base, to start from. And for this one, I didn’t need any references, stuff like that,
P37 - 11:08并没有用参考。
because I was suggesting first, I’ll seeing the forms and then I was refining it.
P37 - 11:12建议形状在先，黑白线条来调整。
So I would say it's all about balance. If you're starting try to use brushes that have like transparency option to them, but also to kind of reinforce your paintings.
P37 - 11:32平衡透明绘制的选项。
You will definitely needs a bevel statement.
P37 - 11:36需要黑粗体的状态。
And to do those, you use opaque brushes.
P37 - 11:40用不透明的刷子。
And also don't forget it opaque brushes. They are also very good since you have the flat colors that, for example, if I want to select something, because I have a lot of gradient over here, I don't have much control.
P37 - 11:55比如有梯度但是没有控制。
But once I have opaque kind of like solid colors like these that I can make a selection and quickly introduce some extra level of detail on the topic.
P37 - 12:10在不透明度黑色基础上细节调节。
Like same here. I could go on selected and just quickly did this.So knowing the difference between those two is really important because it will help you afterwards, once you start actually refining your stories and actually generating those paintings,
P37 - 12:36绘制故事的时候容易反复调节。
you will know exactly which matters, like which brush to use and feel Free to experiment. There is a lot of like different options like textural brushes that have different kind of filled them.
P37 - 12:51可以尝试用不同的刷子。
But we will talk about textural brushes in the next lesson.
P37 - 12:53下节课讲述纹理刷子。
So I think that's it. I think it's pretty much clear. What's the difference between transparent and opaque brushes. Yeah.
4. Painting Methods---2-2.Painting Environments with Opacity
P38 - 00:00
Alright, let me give you an quick example just painting environments show you how transparent versus a back walls.
P38 - 00:11环境如何影响黑色背景的。
So let's say if you're using a back brush or very soft brush, and it's very cozy environments because once you start, you kind of start from a background,
P38 - 00:23从背景开始的。
you establish like whenever you use a opaque brush. For example, let’s just frame it.
P38 - 00:31比如用不透明刷子。
Basically using a transparent brush, we’re starting from the background.
P38 - 00:45不透明度刷子从背景开始。
So we're looking out the background first, and then we're moving on towards the foreground.
P38 - 00:52朝前景移动。
So the background could be really simple. Let's say we put the sun over here,
P38 - 00:56背景很简单，比如放置太阳。
This is all our background. Like if you want the seem to be more prosperity. But the glow it's for you just diffuse and keep diffusing it,
P38 - 01:09光辉持续的漫射。
but I will keep it simple. And now you need a foreground of this case.
P38 - 01:13现在需要前景。
So now you use it opaque brushes. and you actually bring in some foreground elements.
P38 - 01:20不透明刷子，前景元素。
Let’s say you can also rise in horizon line. Or if it's a sea right?
P38 - 01:28比如太阳从水平线升起，前景海。
And then you use another set of brushes returned, which gives you a gradient control.
P38 - 01:35海中的刷子，用梯度。
And now you've got a nice reflection of the sun.
P38 - 01:37有太阳的倒影。
So whenever you want to start from a background, which is like sky or something good, which has gradient, we’ll start from the transparent brush.
P38 - 01:50比如可以从透明刷子开始。
But if you want to do something, you can start with the foreground, then probably it’s a wise thing to start with a back brushes because let's say if you put a transparent mark over here.
P38 - 02:11比如你放置透明的背景。
It's very difficult for you. You need to kind of decrease your brush size to get a very nice hard edge.
P38 - 02:18降低刷子大小得到锐利的边缘。
So all we need to do is start with some kind of opaque brush.
P38 - 02:25加入不透明刷子。
And then as you go to the distance for example,
P38 - 02:30比如你想拉开距离。
once you block the scene, because everything is so flat, you can select,
P38 - 02:37比如可以选择平面的场景。
I have a new background transparent brush and you can introduce a gradient.
P38 - 02:43透明刷子刷出梯度。
So whatever you can even use it foreground as well.
P38 - 02:47也可以找到前景。
Like if you want to start introducing some kind of lighting similar kind of stuff.
P38 - 02:54可以刷入光打在水面上。
So it's very kind of logical way doing things. you just think about how you need to construct your frame.
P38 - 03:08了解如何创建剧照。
And then if you start from the background, you use a transparent brush.
P38 - 03:16背景用透明刷子。
And if you start with foreground, you use a opaque one.
P38 - 03:30背景透明，前景不透明的。
So that's the kind of simplest example that describes the way you use it.
P38 - 03:38用简单的方式来描述。
Once, for example, if you start working with references, when you have a picture next to you, and you won't just replicate a bit of it.
P38 - 03:48开始用指南的时候，不会复制。
And if there is a lot of gradient with a lot of sky, like a lot of water, like a lot of shadows and stuff like that slot pools of light.
P38 - 03:59天空梯度 水光阴影。
It's logical to start with a transparent brush.
P38 - 04:02从透明刷子开始。
And if you have a lot of like shapes, let's say there is a cityscape of a background something like that.
P38 - 04:07背景还可以加入都市风光。
doing that with a transparent brush, just doesn't work.
P38 - 04:14透明刷子这时候不起作用。
It’ll give you a crazy immature looking.
P38 - 04:18给到一些不成熟的外观。
But as I already mentioned, transparency is very good for suggestion.
P38 - 04:32透明给到征兆和启示。
So for example, if I would block out some city over here, and I won't be able to suggest without going too much into detail, I would use a soft brush.
P38 - 04:39软刷子不透明刷出远处的建筑群。
But if you want to do a statement, if exactly what you're doing or what kind of shape or after,
P38 - 04:45但是在形状基础上做黑色标记。
you definitely use a opaque brush to make a statement.
P38 - 04:50用不透明的刷子做个标记。
Because putting these shapes are already saying, okay, these guys are rectangular shape.
P38 - 04:58比如放置矩形刷子。
You change the guys. And then you would say, OK, this is some kind of triangle design language.
P38 - 05:03长方形设计语言。
And you see there is a big difference between these guys can be square or triangle.
P38 - 05:11正方形或长方形。
It doesn't matter. They're so suggestive.
P38 - 05:15不透明模糊的迹象。
And these guys its statement. So make sure that you understand these two guys. And you will be always safe. And you will use appropriate method. Wherever you think you need to use it. That's it. Let's move on.
4. Painting Methods---3.Make a Statement with Texture
P39 - 00:00
Let’s talk about next chapter, and it would be flat versus texture,
P39 - 00:07这个章节水平对材质。
So as you already know, and I showed you few times. Sometimes I paint with a flat brushes, like this one.
P39 - 00:16有时候我用水平刷子。
Like i've got a bunch of those over here, like you can do these kind of things and then you can do, like circling and stuff like that.
P39 - 00:27可以直线可以圆圈。
And sometimes I use texture brushes.
P39 - 00:30有时候用材质刷子。
Like for example, this one, this guy has a lot of canvas texture.
P39 - 00:35比如画布纹理材质。
So what's the big difference? And why do we use flat? Or texture brushes.
P39 - 00:43平刷和纹理刷区别是什么？
So the main difference would be kind of the same that we had between transparent and back brushes.
P39 - 00:53可以用透明的和纹理刷子。
And let's, for example, block out head. using flat brushes do the head. So this is, let's say, all the head, right? It's very primitive, but we've got everything we needed.
P39 - 01:19比如我们用原始的刷子。
So let's do the same with the texture brushes. So we put like this, it doesn't necessarily need to be the same kind similar person. Just the idea of the head.
P39 - 01:49平刷和纹理刷子画头。
So and you can already see, for example. If we put them side by side. You can clearly see that here. It’s very very bold. And it is like a statement,
P39 - 02:07平刷粗实体说明。
You can know exactly like what this person looks like from profile. So this one is a statement. Meanwhile, this guy is more suggestive. it is more like open to your interpretation. Like, is this the forehead? Maybe not. Maybe this is like the gear that he has, at least.
P39 - 02:31纹理的前面可能是帽子可能前额。
So it's very, very suggestive. That's why, it's more abstract first. And more suggestive.
P39 - 02:44莫能两可。
And which one would you use? Which one? This one or this one? It depends what are you doing?
P39 - 02:52用哪个取决于你做什么。
Like for example, if you have a specific idea in your mind, you want to make a statement. You use this one.
P39 - 02:59比如明确的用黑色实体。
But if you want to explore, then you have a suggested matter because having this one, you can quickly make those adjustments. And quickly like create different things, like visible. Okay, that's on the staff,
P39 - 03:15模棱两可抽象的可以调节。
and then you create that's a beer. And that all these guys that you think it doesn't necessarily need to be lighting. It just the way it works.
P39 - 03:26加入胡子，不加入灯光。
it just the way you suggest things. I wanna do glasses. You want put the glasses. You put one over there, you can go and refine, you’ve keep refining it. That’s the fans part of it.
P39 - 03:43加入胡子 镜子，调节的乐趣。
So I would suggest that brush is nothing is refined. And it gives you much more freedom to suggest the details.
P39 - 03:54自由的设计细节。
Meanwhile, if we would doing the same guy over here, we had to be really precise, like the way you pulled everything like. also give you a flexibility with the gradient as well. You can see here we're starting to suggest all those really nice kind of cool things that save a lot of time.
P39 - 04:18但是黑色画面调节就很困难。
So texture brush comes in when you need to suggest your stuff.
P39 - 04:22纹理刷子调节节省时间。
And you need to kind of go on without actually refining everything perfectly.
P39 - 04:29不需要精确的调节就可以。
You need to put some ideas together. And this is what texture brush as the best.
P39 - 04:33可以淋漓尽致的展示思维。
And I'm using this one. But there are a lot of different other texture brushes, And I strongly encourage you to kind of experiment with those.
P39 - 04:43建议安装纹理刷子。
Basically this process more reminds me of what real painters do one day kind of put the underpainting,
P39 - 05:05调节让我想起了画底色。
they put the general lines. And this one reminds me more of a 3D approach.
P39 - 05:12黑色粗体想起了三维建模。
When you do something and you see this silhouette and both of them are strong, I mean, don't misunderstand me. These guys strong because from the very first stage, it was obvious what he was doing. But these guys more open to the exploration.
P39 - 05:28黑色清晰坚定，纹理探索。
you can still explore with this guy. You can take flat brush. You can change him dramatically, you can just change his silhouette.
P39 - 05:39黑色的调整轮廓。
But you immediately see different characters. Like it's very kind of solid thing to do.
P39 - 05:47明显不同角色了。
It's like an old school character, maybe you put like. This guy over here. And this guy is cool as well. It's just more open to experiments. So it's more open to exploring the character further and stuff like that. So that's the basic the main principle.
P39 - 06:24以上是基本原则。
And also what’s good about the suggestive an abstract way of painting with texture brushes?
P39 - 06:30如何用建议抽象的方式绘制。
You don't paint the light. people always keep asking me. Like, I keep asking me, how do you handle your values? And how does this stuff look real and stuff like that?
P39 - 06:41如何处理价值。
I don't paint with the light. I just put the strokes. I see the general shape, and then I start refining them.
P39 - 06:48纹理材质涂抹出形状来。
it doesn't necessarily mean that. this is like I can quickly tweak the lighting afterwards, but when I'm painting with is the suggestive Information that gives me kind of ideas of this of what this character might look like?
P39 - 07:13纹理刷子给角色看起来是什么的。
So you see, it's all very suggestive. Nothing is like, you can still go on and play with it and change this guy dramatic as you go because you are very suggestive.
P39 - 07:45调节改变成不同角色。
Overall, I just realized the summarizing this stuff for you. I think the more transparency, if we put it this way. So for example, let's make this graph right. And here it’s a suggestion, And here is our statement.
P39 - 08:17对比图，左侧建议，右侧说明。
And this is basically opacity. So this is zero. And this is 100%. So zero means you have very kind of 100% .
P39 - 08:30说明不透明度百分百。建议为零。
zero means suggestion. Opacity means hundred percent like you're making a statement. And as you go lower even link for this texture brush is suggested because once I make a very light strokes, excuse me, just kind of a small amount of paint and if I push harder, it just introduces a lot of big shapes, big statements. So and it doesn't matter really what brushes using you can cycle through all of them.
P39 - 09:08跟刷子种类无关，不透明度有关。
And most of them they have the same kind of features. they are somewhere on this graph. And depending where the brushes you using it to suggest to make a statement. I did like a demo without voice over it. Just me painting using this texture brush. Make sure that you watch that one and just get the idea how I kind of procedures I paint.
P39 - 09:34留下印象。
there is no voice over. I just don't think. But you need to know like There is no need for me to repeat all the stuffs together. But I'm basically what I'm doing. I'm suggesting the shape and I'm putting those without actually thinking about lighting I think it's purely about shapes and design kind of abstraction.
P39 - 09:53形状纹理抽象设计。
But once I see something that I kind of put the light Information. All right. it's a very short one, but I hope you guys found this very informative. And let's move on. Thank you very much.
