This one is the pre-final stage of the Morgana drawing I started last week.
The colors are OK, but since I decided to add a “little” blood and some elongated teeth, the teint would not be believable, however at this stage, I refined the necklace, finalized the coloring and conttrasts and did some adjustments with the liquifier tool.

This one is the pre-final stage of the Morgana drawing I started last week.

The colors are OK, but since I decided to add a “little” blood and some elongated teeth, the teint would not be believable, however at this stage, I refined the necklace, finalized the coloring and conttrasts and did some adjustments with the liquifier tool.

In this stage of my Morgana drawing, I added some base color to the background to add some color variety.
Also the corsage was depicted, for this I used a simple round brush, hard and soft edged.
A specific tip for brushes in Photoshop:
When working with brushes in Photoshop, work from big to small and from grayscale to color.
Add the option “sprinkle” to your brush in the settings dialog, this makes soft round-brushes more traditional looking and gives structured gradients.
Just use 2 brushes:
A rectangular one for rough strokes, backgrounds. This can be big, structured and should be hard edged, any PS standard rectangular brush tip will do.
For the round brush use a standard as well and shape it to your liking, go through the brush setting, experiment with the settings and get familiar with your tablet.
If you found two great brushes to work with, congratulation! You don´t need much else, now draw - draw -DRAW!
Get the fundamentals down, otherwise the fancy stuff isn´t going to work.
Why are you still reading, get to your drawing!

In this stage of my Morgana drawing, I added some base color to the background to add some color variety.

Also the corsage was depicted, for this I used a simple round brush, hard and soft edged.

A specific tip for brushes in Photoshop:

  1. When working with brushes in Photoshop, work from big to small and from grayscale to color.
  2. Add the option “sprinkle” to your brush in the settings dialog, this makes soft round-brushes more traditional looking and gives structured gradients.
  3. Just use 2 brushes:
  4. A rectangular one for rough strokes, backgrounds. This can be big, structured and should be hard edged, any PS standard rectangular brush tip will do.
  5. For the round brush use a standard as well and shape it to your liking, go through the brush setting, experiment with the settings and get familiar with your tablet.
  6. If you found two great brushes to work with, congratulation! You don´t need much else, now draw - draw -DRAW!
  7. Get the fundamentals down, otherwise the fancy stuff isn´t going to work.

Why are you still reading, get to your drawing!

In this version of Morgana, I added coloring to the face, eyes and began outlining and filling the hand. I tried to work reduced, smooth and with a hint of outlines, new technique for me, but so far I like it.

Less is more.

A tip for painting hair: 

  1. Use a 50% gray and a big round brush to roughly block in values.
  2. on top of the sketch layer, use an outliner (2-10 pixels) to define strains in black, fill inbetween with a bigger round brush.
  3. define highlights by wourking out chunks, not the complete hair.
  4. Think of painting hair as if you would shape clay, less is more, think 3-dimenional.
  5. Another overlay-layer on top for some blue color, adds depth to black hair, always.
  6. Details on top of the overlay-layer with a 2 pixel sized roundbruch can hale to add some highlights and some natural variety, such as unregular looking strains and single hair strains.

Thats it, have fun drawing!

A drawing of Morgana, based on a photographic reference. This version is colored through a simple technique using overlay. Many artists have issues getting this method to work for coloring their paintings, I suspect because it is done wrong. 
I do paint a flesh tone with a hard edged roundbrush on a new layer with 80% visibilty -set to “overlay”, overlapping edges can be removed with the smudge tool.
If the flesh tone and visibility is at first darker than the image above shows, don´t worry, just copy that layer 2-3 times and see the flesh tone come to life. You can also change coloring of each copied overlay layer to achieve more variety in the flesh tonality.
Now the tricky part: It is not possible to maintain the look when reducing these color layers, therefore you have to select the colored area with the magic wand, hold CTRL+SHIFT+C and CTRL+SHIFT+P to copy through all layers to achieve the look, then you can delete the coloring layers and work on top of the new copied version.
Simple as that! The values from the grayscale sketch come through and give a good palette to work from.

A drawing of Morgana, based on a photographic reference.

This version is colored through a simple technique using overlay. Many artists have issues getting this method to work for coloring their paintings, I suspect because it is done wrong.

  1. I do paint a flesh tone with a hard edged roundbrush on a new layer with 80% visibilty -set to “overlay”, overlapping edges can be removed with the smudge tool.
  2. If the flesh tone and visibility is at first darker than the image above shows, don´t worry, just copy that layer 2-3 times and see the flesh tone come to life. You can also change coloring of each copied overlay layer to achieve more variety in the flesh tonality.
  3. Now the tricky part: It is not possible to maintain the look when reducing these color layers, therefore you have to select the colored area with the magic wand, hold CTRL+SHIFT+C and CTRL+SHIFT+P to copy through all layers to achieve the look, then you can delete the coloring layers and work on top of the new copied version.

Simple as that! The values from the grayscale sketch come through and give a good palette to work from.