10 Digital Art Mistakes – [TRANSLATED] (French, Italian, Portuguese, Russian, Serbian & Spanish)

10 Digital Art Mistakes – [TRANSLATED] (French, Italian, Portuguese, Russian, Serbian & Spanish)

I’m Aaron Rutten and these are 10
mistakes that digital artists make. These are in no particular order. Let’s
start with the first one which is, incorrect tablet use. You want your tablet to be
parallel to your screen and you want to be right in front of your tablet and
right in front your screen. If you have a sliding drawer for your keyboard, that’s a
good place to put your tablet because then it will be directly in front
of you. You don’t want to be off to the side or have the tablet off to the side. And you don’t want to have the tablet turned at an angle because that will make it a lot
harder to get the hand-eye coordination down. And it will make drawing more difficult
and less accurate. Just make sure that your tablet, your
screen and your eye-level are all parallel to each other. You’ll also want to make sure that the
pen pressure on your tablet is properly calibrated. You can go into your control
panel and then go to Wacom tablet properties. And if you look under your
pen, you can see your current pressure and you can customize the tip feel. So if
you press your pen tip down, you can see the meter move. I tend to press down
firmly, so I set this a notch towards firm rather than leaving in the middle
which is the default. If you’re the opposite of me and you tend to press
down really light when you draw, you may want to set this to soft. And you can
experiment with these different settings to see what works best. Calibrating your pen will make it a lot
easier to draw thick and thin lines. You may also be able to calibrate some of
your brushes within the digital painting application itself. For example, in Corel
Painter, I can actually go into the Brush Calibration dialogue and I can calibrate
each individual brush. The second mistake on my list happens when you don’t shift
the hue of your color when you’re shading. So what I mean by shifting the
hue, is you have your Hue Ring here. And right now I’m on an orange hue. If I
wanted to shade this circle and make it into a sphere or make it
three-dimensional, what I would want to do is decrease and increase the value
and put a shadow on one side and a highlight on the other. However, this tends to look kind of flat.
If I duplicate this layer, and I try a different method of shading. — This time
I’m going to shift the hue. I have my base color here which is this orange hue. I’m going to make it darker like I did
last time, but then I’m going to shift the hue a little bit towards of red. Next,
I’m going to put in my shadow. I’m going to sample my base color again. And then
I’m going to select a highlight that is a little bit more yellow and a bit
brighter. And I’ll put that in. And now I get a much more natural result when I’m
shading. Generally speaking, I’m shifting my highlights towards a warmer hue and
I’m shifting my shadows towards a cooler hue. You can watch my video on color
theory to learn more about hue shifts. Mistake number three on my list is not
adding enough contrast or enough range of values to your artwork which will
make it appear kind of flat or kind of dull. You can see that in this apple
here, it looks really flat. A good way to check the value structure in your
painting, is to create a new layer… I’ll call this layer “value check.” And I will set the Composite Method or the Blend Mode to “Color. Next, I’m going to
select black and I’m going to fill that layer with black. That’s a quick and easy way to show what the artwork looks like in black and white. So we can see that we need to add quite a
bit more contrast to this piece. Let’s go ahead and click on the eyeball
to go ahead and hide that black and white effect. And I’ll create a new layer… I’ll call this layer “dark.” And I’m going to set the composite method to “multiply.” I’ll sample one of these green colors from the apple. Then I’m going to shift the hue a
little bit cooler and make the color a tiny bit darker. Because I have my
apple on a layer, I can go ahead and select the outer edges of that selection
and stencil it off so that I don’t paint outside my apple. I’m going to darken some of the side here. This is adding a little bit of
contrast. So if we look here at our value check, and we do a before and after, you
can see that it’s adding another level of gray and black. I could of course do that
with a lighter color as well on another layer. I’ll shift the hue little bit
towards yellow and let’s put in some of that over here on the side. We’ve covered up our highlight a
little bit, so let’s go ahead and fix that. I’ll put my highlight back in. And maybe
with a bigger brush, I’ll just add in a little more brightness there. I’ll turn the “value check” layer back
on. And if we group our light and dark layers, we can
do a quick before and after so we can see the effect it has on the apple. We’ve added a lot more contrast or a lot more levels of black and white and grey to
this piece. Which helps it look more realistic. Mistake number four on my list is, not looking close enough at your artwork to see mistakes. These are little mistakes like
accidental marks, strange edges, repetitive patterns from brushstrokes,
banding from gradients or transitions in color, or even just the proportions
being off somewhere. So this piece looks pretty good from a distance, but it’s a pretty large piece so I can zoom into it and look at it a bit closer. I can scan around to look for some mistakes. For example, what we have here is a weird line. We can see it very clearly when we’re zoomed in to 100 percent, but
if we were painting this much smaller, and we never zoomed in on that
area, we might not notice that mistake. Then, if we go to print this later, all of a sudden we
might notice that there’s this weird mistake. So there’s a number of ways to
fix mistakes. If this were on a layer, you could simply erase it. Or if it’s too
late and you’ve already flattened all of your layers down, you could do something like paint
over it. Or just blend it. I can use the “Diffuse
Blur” blender and just blend it away. Or I could use a brush and hold ALT to
sample a color near it and just paint it away like so. Now while we’re zoomed-in
here, we can see some other mistakes. I see some strange little patterns. You may
want to keep these for texture, but I may not. These may be things that maybe I’d want
to blend away to get rid of some of that texture. And here, I see
a weird pattern from the airbrush that I used. Hopefully, you can see this
in the video but there’s some diagonal lines with little speckles in them.
This is created when you use the airbrush. You can blend these away
with the Diffuse blur blender. Or you could use an overall softening effect to
get rid of them, but I feel like these little artifacts and brush strokes kind
of make the piece look digital. And I like my piece to look a little more
organic. So I would normally blend stuff like that out. But in this particular piece, I either
didn’t feel like doing it, I didn’t notice or I forgot to do it. So it has
these artifacts in here. Now let’s look a little closer at our main character here
and if we scan around at the edges of the character, you can see that right
here, there’s a little bit of a mistake. I accidentally blended here and so the
edge is jagged. That might not really show up if we look at it from far away, but
maybe that’s something that I would want to fix just by blending it. If I found
the edges where two sharp overall, I could just soften them. I can also use
something like the Blur blender to soften the edges so that they’re not too
sharp. In a lot of my older pieces, edges were really sharp. More recently, I’ve adjusted my technique to soften edges like this so they aren’t so sharp. That helps it look a little more natural
because edges that are moving away from you in three-dimensional space should
become a little more out of focus. You can see here on the leg, there’s a bit of
stair stepping which creates a jagged edge. That’s also something that you could blend out
with the Blur blender like so. You can see that on the other side as well. And if I blur over that a little bit, I can clean that up. I can also use
the Pinch brush to pinch those pixels together. Proportions are a little
trickier to correct. If you have everything on layers, you can always select the head layer and make the head bigger or smaller. But since I
have everything on a single layer, one way that I could make the head bigger in
proportion to everything else, is to use something like the Bulge brush. I’ll make a
really big brush and inflate the head like so. So maybe if the head was too small and I needed to make it bigger, that’s one way that I could do it. Let’s see a before
and after. Looking for mistakes is a two part process. First, you want to look
really close for mistakes, but you also want to consider that people will
probably be looking at your piece from a distance, so you don’t need to stress too much. And second, it’s good to spend a little bit of time just
looking at your piece after you think it’s finished to check for mistakes in the proportions. Especially if you’re doing something like a realistic portrait or still-life painting. you want your proportions to be as correct as possible. And sometimes it
takes spending a little time looking at the piece to make those observations and
see that something is off. Another tool you can use to help evaluate your work is
to flip your canvas horizontally. Sometimes that gives you a different
view of things. And if something is asymmetrical or out of proportion, it
becomes more clear once you flip your canvas. Some people even like to flip
their canvas vertically. That helps as well. While we’re on the topic of zooming-in
and adding and removing detail, that brings us to mistake number five which
is, adding too much detail. I could really go in here and zoom in very close and I could add all kinds
of little cracks and crevices. Or I could write a serial
number on here, since this is some kind of robot or something. But if I were
to print this out or view it from far away, suddenly all that detail is lost.
That serial number that I wrote on the robot looks more like a weird eyebrow
now. And that little mark that I made on the metal texture doesn’t even show up.
As a whole, if you look at things from far away, sometimes details do make a
difference. Like this overall texture still shows up when I
look at it from far away. So you want to look at things close and you want to
look at things from far away. But overall, you want to weight your judgment
towards how it looks far away because most of the time that’s where people will be viewing from. Very few people are going to get right up close to your artwork
with a magnifying glass and look at it. Mistake number six is, saving your
artwork as a JPEG. If we go to File>Save or Save As, we have lots of options for
saving a file. And one of the more commonly known formats is JPEG. You may see this a lot on the internet.
When you go to upload a photo or download a photo from your phone, it’s typically going to be in JPEG format.
But that’s really not the best format to use. Nor is it the only format to use. — In
fact it’s probably one of the worst formats you can use depending on what
you’re doing. So why is JPEG so bad? JPEG is bad because it’s going to
compress your image using lossy compression. When we go to save as a JPEG,
we can see these quality options which represent the amount of compression. So if I zoom in to an area of detail in my painting, and we set this to fair. And
we reduce the quality, you can really quickly see what’s happening. You may have seen
images on the internet that look really blocky like this. And that’s because
they’ve been overly compressed. Obviously, you don’t need to compress things this
much. You could set this quality higher, but even if you set it to
excellent and 100%, it’s still going to compress
your image. Compression is basically throwing away information to make the
file smaller. Unless you need to make the file smaller for a particular reason, for instance if a website wants you to upload a certain file size or you have
some sort of file size restraint that you have to conform to, there really
isn’t a reason to compress your image this much. So unless you have to save as a
JPEG, do not use JPEG. If you do have to save it as a JPEG, make sure to save a
copy of your artwork. Don’t save your original as a JPEG. I think a lot
of people make the mistake of saving as a JPEG, thinking that’s the format they
should use for their master copy of their artwork. And they keep saving as
JPEG over and over and over again. What’s really bad about that is you’re
going to keep compressing over and over again. So each time you save as a JPEG,
you’re going to throw away more and more information. That will keep degrading the quality of
your image. So rather than use JPEG, I’ll choose “Save As.” And I’m going to
choose PNG. Now if we go to Save, it doesn’t really ask us anything. — It’s just going to save it as that PNG format. If you’re using something like Photoshop,
you might get a few more options. The difference between PNG and JPEG is that PNG
uses lossless compression. Meaning that it’s not going to throw away any
information or really harm the image in any way when saving. And PNG is a web compatible format in most cases. Most places that will accept a JPEG will also accept a PNG. You can save as
PNG multiple times and it won’t hurt the image. It’s also worth mentioning that
your colors remains more accurate when you save as PNG vs JPEG. JPEG can
sometimes change the color when you’re saving. And of course, if you’re working
on something and it’s your master copy, and you’re going to keep working on it,
you’ll want to save it as a painter RIFF or whatever your software’s native file format is.
You can also save as a Photoshop PSD. Mistake number 7 also relates to saving. — And that is not saving often enough and not saving iterations. I hear a lot of artists talk about how they’re working on something for a half hour or an hour or
longer. And then something happens such as their computer crashes. Or maybe their
software crashes and then all of a sudden, they’ve lost the progress they made. And
that isn’t very uncommon. Sometimes things crash or files get corrupted. So it’s
good to save often. I save constantly, using the keyboard shortcut (Ctrl+S.) That way it’s really quick and easy. You can see that I also have shortcut buttons up here. When I’m saving, I prefer to choose “Save As” and save iterations as I’m working. I’ll
start with painting number one. And then later when I saving, I’ll save it as
painting number two, painting number three and painting number four. That way I’ll have all of those older copies I can go back to. And if something bad
happens while I’m working, I don’t have to start over from the very beginning. I can
just go back to an older version. It’s also nice to be able to see the
progression of your artwork. You’ll also want to save copies for different
purposes. Let’s say I have this color version, but maybe I also want to make a
black and white version. Rather than saving over my original color version
with the black and white version. I would of course want to go to “Save As” and save
a copy. Maybe we’ll label this “BW” for “black and white.” Now I have two versions of that file, the color version and the black and white version. Same
goes for when you’re sizing something smaller. Or if you’re making different
versions. Let’s say you want one version for printing and one version for the web.
You would, of course, want to save copies for each. Mistake number eight deals with
resolution. I’ll go ahead and create a new image and I want this image to be
14 inches by 11 inches if I were to print it. Resolution is going to control
the amount of detail in that image. A standard resolution for printing is 300 dpi/ppi.
The standard for the web is 72 pixels per inch. So since I’m going to be
printing this. And this is going to be a piece of artwork, I want to use a higher
resolution like 300. That way, if I go in here and I start painting, doodling, scribbling… The image has lots of detail. I can zoom in really close to this, and these
lines are nice and smooth. If I create a duplicate of this canvas and I only make
the resolution 72. But I still keep the dimensions the same (14 by 11.) And I use that same brush… When I zoom in, there’s going to be to be a lot of little jagged pixels. You
can really see these here when I zoom in. That’s because there isn’t as much
detail or as much resolution. The other downside to working at a low resolution
is that you can’t upscale things and still have them look good. What I mean by
“upscale” is, you might think that you could go to Canvas>Resize and just
change the resolution to 300. But what’s going to happen is, the computer can’t
really add detail. It’s just going to duplicate what’s there or turn one pixel
into four pixels. So you can see it still has that jagged line, it’s just smoothed out a little bit more. Another example would be, if I drew a little character here. — A little stick figure. I’ll make him really small. Even if I select him, transform
him and scale him up, he still not going to look very good. He’s going to be
blocky and jagged. The lesson here is, it’s better to make your artwork too
big rather than too small. It’s OK to shrink things down because throwing away
information is easy. It only becomes a problem when we try to enlarge things because the computer can’t add detail. It can only inflate the detail that is
currently there. Mistake number nine is a very common one,
and that is, “destructive editing.” For example, I’m going to draw another little
stick figure character here. As I mentioned a minute ago, it’s not good to
scale things down and then try to scale things up again. But what if you have
something where you don’t know what size you want it to be and you want to
experiment and make it bigger or smaller and go back and forth. What you
would want to do is use something like Photoshop to turn that layer into a
Smart Object. I’ll right click on that layer and choose Convert To Smart Object. And what that’s going to do is, that’s going to lock in the original resolution. So even if I scale it down really tiny and then scale it back up
again. As long as I don’t go bigger than the original, it’s still going to look really
good. So I’ll name this layer “Smart.” Let’s make a duplicate of that layer. Let’s call this “Dumb”. And we won’t make this a Smart Layer. To do that, I’m just going
to Rasterize the layer to turn it back into a regular layer. On that dumb layer, if you
will, let’s scale that down really small. I’m going to commit to that change. Then I’m going to transform it and scale it up again. And you can see what happened here. You can’t even see what it is because I made it so
small that it was only just a few pixels. And when I tried to blow it up again,
that information was thrown away. So the computer just had to try to guess where
the detail was. And it didn’t do a very good job. So again, if I do that same thing
to the Smart Layer. Scale it down really small and scale it up again, it still looks good. If you don’t have smart layers in your application, you could also just right click on the layer and duplicate it. Hide one of your duplicates to keep it as
your original. And then you can experiment with the copy. That way,
if you make it bigger and smaller, and it gets degraded,
that’s OK because that’s just a copy. You can get your size and position correct.
And then reveal your original layer, take it over there, move it, scale it down. And it still looks nice and
clean. If we look at these side by side, you can see the difference that it makes. One
is still nice and sharp the other one is all blocky because we transformed it too
much. So when you’re throwing away information
or permanently altering your image, that’s called “destructive editing.” It’s better to use “non-destructive editing” which means you’re not going to
throw away any information or risk messing anything up. Another example of
destructive versus non-destructive editing is using the eraser. The eraser is
destructive. If I erase this person’s arms and then make a few more marks with the eraser until I exceed the number of undos
I have available. If, for some reason, I wanted to bring the arms back by choosing undo, I can only go back so far. So now those arms are
gone and I’d be forced to have to redraw them. It’s not so bad if you’re just
dealing with a stick figure, but there’s a smarter way to non-destructively erase.
And that is to add a mask. I’ll click on Create New Layer Mask, I’ll select black and I’m going to select the Airbrush this time. If you paint inside a mask, what you’re doing is you’re concealing those pixels. You’re not really erasing them. They appear to go away, but they’re just becoming invisible. They’re not really getting removed. So I masked away or concealed some areas
of his arms, but what if I decided I want to bring them back rather than redraw them. I’ll select white and paint in the mask. And I can reveal or
bring those arms back. So that’s non-destructive way of erasing. Another example of destructive versus non-destructive editing happens when you’re creating effects. So for example, I can choose Effects>Tonal Control>Adjust Colors and I can shift the hue
to make this planet a completely different color. However, this is a destructive edit which means that if I keep changing the color, it might be really
difficult to get it back to its original color. Or if I apply too many color
changes, that might start to kind of subtract detail from the overall color
in the piece. So a better way to do this is to duplicate that layer. I’m going to “Select All” with Ctrl+A and then Copy and Paste. Now I have a duplicate here and I can apply
that same effect to the duplicate. I can change the color, but I still have my
original. Besides making it easier and less risky to experiment, you can also take advantage of things like the different Blend Modes (Composite Methods,) if you want to blend things together to experiment with various effects. Some other forms of
destructive editing would be cropping and saving over your original. So you would want to make sure that when you’re cropping and saving, you do that
non-destructively. And to accomplish that, you can use the iterative saving technique
that I showed you earlier. Go ahead and crop and then save a copy.
You can name this “cropped,” but don’t save over your original. And finally
mistake number ten on our list is, not using layers. Believe it or not, a lot of
digital artists don’t use layers. And that’s easy to understand because, if
you’re used to working with traditional media, you have to start from the
background and work your way forward. Because you can’t move layers of paint around.
So if I were painting a flower, I’d have to put in my paint the leaves and stem first. Then I’d have to
put in my pedals like so. Next, I have to put in the center on top of that. And then if I decided that I wanted a background, I would have to very carefully go in and paint
around all of the edges. It would have made sense to put in my background first
I guess, but let’s say I was just doodling and I and didn’t know that I wanted to add a background.
And now that I do, I have to spend a lot of time very carefully correcting mistakes. Even if I’m very careful, I’ll still have to add more pink here to fix my
mistakes. And so on. It’s a difficult way to work because if I decided I
don’t want my background to be blue, I want it to be red. Then I have to select a red and paint over that blue again. And I have to spend
more time. That’s just how you have to do it when you’re working with traditional
media. But if you’re working digitally, you don’t have to do it that way. You can
use layers. Layers are your friend. For example, I have my center on a layer.
I have my petals on a layer. I have my stem on a layer. And I have my background on a layer. So if I wanted
to add a background, I can choose blue and paint behind those
layers. And if I don’t want that layer to be blue, I want it to be green. I can select green and I
can quickly fill the background with green. Or I could fill it with red if I wanted it to be
red. I can quickly change it. If I decide I don’t want a background, I can
either hide that layer, or I can delete that layer. It also makes it easier to move
things around. If I want to change the position of my whole flower, I can reposition it. If I
want to transform the petals to make them bigger, I can transform just the petals. If I want to change the color of the stem, I can change the color of just the stem. So layers are your friend. You want to make sure that you always use layers and use as many layers as you need to. It’s not uncommon for me to use anywhere from 15 to 30 different layers in my paintings. Another advantage to working with layers
is, you can blend them with each other. So I’ve gone ahead and flattened down this
flower to a single layer. And I’m going to move it over here on top of the other
flower. Right now I just cover it up, but if I change the composite method or
the blend mode to something like “Multiply,” you can see that I can blend
the two layers together. “Screen” gives me a different effect. “Overlay,” another
effect. “Difference” inverts them on each other. Hue gives us another effect. You can
experiment with all of these to get a lot of different results. Typically, I would use this to tint
things, highlight things or add shadows to things. And of course, the last advantage to working with layers is that you can also easily
duplicate the layers. As you can see, I can make lots of duplicates. And I can, of course, move them around. I can transform them, make them bigger or smaller, rearrange them and so on. And then, of course, I can delete those layers if I don’t want some
of them. So those are ten mistakes that digital artists make. If you found this information helpful, take a quick second to like this video. And if you’re new to my channel, don’t
forget to click that subscribe button to get updates when I release new digital
art videos. Thanks for watching and I’ll see you
next time.

Dereck Turner

100 thoughts on “10 Digital Art Mistakes – [TRANSLATED] (French, Italian, Portuguese, Russian, Serbian & Spanish)

  1. Pikastation says:

    Your a life saver

  2. Ignis says:

    How do I draw a perfect circle

  3. Echoris Drawing and Animation says:

    how do you do the value check on krita?

  4. Camelia D says:

    click click click click click click

  5. Frd Dcmt says:

    merci 🙂

  6. Anthony Demitre says:

    This is SO informative…! I'll have to watch it again (a few times) being the old analog guy who never owned a computer until well into my 50's. Thanks a lot for such great videos. -Glenn Michael Thompson

  7. asd asdas says:

    cool tips, especially the smart object function. Never knew that that

  8. Winter’s Art says:

    Can I save it as .lip? I've never heard of it, and I'm pretty sure it's special to Clip Studio Paint Pro. Anyone else know?

  9. MidniteBlues says:

    This man is an art genius isnt he…

  10. TBONE says:

    never even heard of digital drawning or knew what it was. this was on my recommended for some reason. This type of art is SO COOL

  11. Dean V. says:

    All these "mistakes" took me several years to learn the hard way…. If only I knew about this sooner.

  12. Lisa Maier says:

    Do you have any suggestions on painting with to much detail?

  13. DP2010 says:

    the learning curve to using a wacom and then the software on top eg surfacebook pro, seems quite steep. can anyone advise on this? how many hours does it take to get the hang of the stylus and surface, and how many hours to get the hang of the software?

    im considering just sticking to pencil drawing my hand and scanning these in and cleaning them up on say photoshop – although im yet to try this.

    the only thing is, the idea of using layers seem really good 🙁 which you can only do with these tablet wacom thingies. anyone able to advise me?

  14. Ivana Doležalová says:

    the most useful was the destructive editing one. I learned so much thank you!

  15. Kromatox says:

    Some people have their own art style and their shading styles. Let them be.

  16. MsLaughingRabbit says:

    Haha, I always have my tablet a little bit offset from my laptop as a direct result of accidentally sliding my arm over the buttons when using hotkeys. That specific "mistake" is really up to how the person prefers drawing and gets the best results – the only reason I don't tilt the tablet as well is because it's too big… also, does anyone actually do art in 72ppi? Like, pretty much every person I know who does digital art always sticks to 350/600 depending on whether it's colour or black and white. Personally I always just change the image size and never the resolution. :/
    Otherwise it was… and informative video. Some of the mistakes may just be artistic choices after all, as well as the process of layering and stuff that people figure out as they go, but for people starting out this is probably quite helpful. 🙂

  17. Aya chan says:

    The bad thing is…I dont see any mistakes

  18. MOMO says:

    Dang I've literally save all my image as jpeg ; — ;

  19. J Cas says:

    but… some people actually write and draw on the side (when i write, my sheet is literally on the side)

  20. Abhishek Rawat says:

    I always thought wth is wrong with my printer but now I know what was wrong (my resolution was always 72) now it's perfect (300)
    This was the best tip

    Just subscribed you

  21. Demir Montas says:

    Such a monotone voice

  22. Dapperdulla says:

    Can anyone tell me which screen recorder to use that doesnt comprimise my digital brush strokes on my mac?? it gets so laggy and not smooth.

  23. Lead line says:


  24. Sepia Smith says:

    I've always tilted my papers when writing/drawing because it's incredibly difficult to draw vertically for me. dunno why. so I've mastered the angle of my tablet haha

  25. Sepia Smith says:

    for the second point I feel like the apple ended up looking worse??

  26. Sepia Smith says:

    I do really like how simple you made this. open, straight to the point, and calm tips that don't berate artists. love it!

  27. Sepia Smith says:

    I'm still trying to understand mask layers.

  28. stylo says:

    Not shifting the Hue

  29. Perrie Mira says:

    Thank you so much for putting this video together! I didn't know line softness/sharpness had to do with aliasing/anti-aliasing, or that the reason my pictures would seem off when I saved it was because of the .jpeg format. Those were such useful tips for me that from now on I'll keep these things in mind.

  30. AurSucks says:

    i draw with my fingers.

  31. Aaron Holker says:

    Blur blender solves everything

  32. Marzia Rahman says:

    which software are you working on?

  33. Ali Akll says:

    Precious Tips

  34. he_tsuji says:

    I save alot too!
    Though it's a problem for my storage space ;w;

  35. Anderson Junior says:

    Vídeo Excelente !, eu realmente estava salvando meus arquivos em jpg até hj, muito obrigado pelas dicas !

  36. Евламптий Пантелеймонович says:


  37. Arsacid says:

    Shifting the hue is a very good tip! A long time ago I used to wonder why my art looked so dull, and it was because I didn't shift hues.
    Overall this is very helpful video, thanks!

  38. Zoe Doucette says:

    1:38 Shifting hue. 2:30 Highlight warmer hue, shadow cooler hue
    10:20 Save as PNG (lossless no compression) when you can versus JPG (lossy compression)

    Also I'm impressed with corel painter, some of those options look useful.

  39. Yeetus Self Defeetus says:

    when you do alot of this mistakes

  40. David Kolosowski says:

    Does anyone know what brush he is using when adding the shadow + highlight can't seem to figure it out …

  41. Nexica Midnight says:

    What app are you using?

  42. Holion 7296 says:

    been using photoship forever, first time learning about smart object! it helps so much THANK YOU!

  43. Sound Braker says:

    Maybe a little random, but I'm having some trouble. I normally use my tablet for digital art but recently I got a proper graphics tablet for my laptop but I just can't get used to it. Its also hard cause I'm used to ibis paint x, but that's only on mobile. I know it needs time but do you have any suggestions for me? Everything I draw is super shaky and doesn't look right

  44. Nef Yolova says:

    one of the most useful tips i've watched! thank you

  45. Dontae Williams says:

    I prefer when my tab is off to the side ..

  46. Serazard says:

    Oh yeah, even so did you individuals wondered about just what this imagery is truly about?

  47. CKlienPasion says:

    WOW! THIS IS VERY HELPFUL! This made me realize my mistakes and contribute for my improvement. 😊

  48. Vampazilla says:

    Thank you! This video has been extremely helpful! Now I can dust off my Intuous tablet and use it!

  49. Art of Dhina says:

    Thank u so much… its useful for me….

  50. Potato Draws says:

    Thanks for this video, I'm starting out myself and rly needed some new tips, and u also gave a lot of clarification on the tip.

    Also 15:52 is how my family's signatures look XD

  51. Abhishek Joshi says:

    I didn't realise I slept for 1hr…your voice is so claming…btw nice video.👍🏻👍🏻

  52. brizzlin tea says:

    disgusting he’s using a huion

    but same tho

  53. Cocoa's Art says:

    All most 100k

  54. Cocoa's Art says:

    She I did first digital art and found out you can make layers I was like

    "Wth why you need layers, I don't need layers when I draw traditional, so I don't need them here"

    Right now I make to much layers I get lost in them 😂😂👌

  55. golubtrxsh says:

    subs in serbian..? wow

  56. Katniss Everdeen says:

    With autodesk sketchbook pro you get unlimited undos

  57. EQUALITY thank you says:

    This helped me so much thank you … iz actually helped me with things you just randomly mentioned and not with the actual problems you were talking about 😂

  58. FakeFlo says:

    Why is the title in german and the Video in english? ??

  59. Kiki Kira says:

    really helpful, thanks!

  60. Fritten Titten says:

    actually having the tablet in a special angle works so good for me
    so yeah ¯_(ツ)_/¯

  61. Angie Ena says:

    Aaron: I’d like my piece to look more organic
    Me: ORGANIC!?!? What was its past? Grown by a farmer?

  62. trashbinblues says:

    oh wow i didnt even realize it was your video until the ending screen. i'm used to watching videos with you talking to a camera and i didnt match the voice hahaha

  63. Pupilupi says:

    The Serbian subtitles are in the wrong alphabet

  64. xanro says:

    This isn't all of the ways you could draw, you can use a tablet (iPad or something) and connect it to a computer/laptop and find an so-pen or something that works like a pencil and that can work on your tablet, and then get out your drawing software, and there ya go! And if you buy a tablet that is suposed to be a drawing tablet thing it may come with a cable to connect you to your pic/computer/laptop. So don't worry!

  65. Fantator Game says:

    Thanks for russian

  66. Eric Whitney says:

    How many ‘layers’ do most people use? Most of these have been extremely helpful, but I’m just using the Sketchbook app in my phone, so the tablet points don’t apply. That point about unwanted marks is definitely a huge issue though because they just happen when simply moving around the picture. :/

  67. the ninja says:

    Thank you ^^

  68. ucheucheuche says:

    I once clicked save and didn't read the 'layers will be lost' WARNING message 😫😫😫

  69. The Swedish Girl says:

    Haha when u draw on your phone and you can’t use unlimited amount of layers……😭

  70. Jace Rooker says:

    THANKS for the helpful tips🤯

  71. maruftim says:

    "Layers are your friend…" Ah, finally got a friend.

  72. epic lol says:

    2:33 soory but the left one looks better

  73. NicK900 says:

    My tablet is off to the side and i am ok with it

  74. Sketchy Tiger says:

    Not using layers isnt inherently wrong, it's a lot easier to digitally paint in only 1 or 2 layers than multiple especially in complex artworks and the more layers you have the slower the program runs

  75. diecisiete alv says:

    10 ERRORES Los artistas digitales cometen*

  76. Ольга says:

    Кому нужно, включайте русские субтитры! Они есть и огромное спасибо за них!

  77. Kenneth King says:

    The blur blender brush…is there a variant of that too in photoshop?

  78. Piece O' Pye says:

    Hi. Somewhere around the 17 minute mark you grab the stick figure, copy it, then move it with a function that keeps it exactly in line. Could you please let me know how you did this and maybe any other functions other than the basic ones (I already know B for brush, [ for smaller brush, ctrl+, etc..)

  79. Aly Cat Plays says:

    I never do any of this.

  80. La. dezign says:

    15:16 How can i achieve this result of brush tip ?

  81. Alana Riddell says:

    I just end up forgetting to save, and then regretting it

  82. Angilina Jensen says:

    Zomg I am guilty of all these. Thanks so much!

  83. LokisRisa says:

    I don't have a drawing tablet. What do I do? Mom won't get me a drawing tablet..

  84. John Wilkes Booth says:

    when you have at least thirty layers and you find an extra mistake/line

    you have to sift through every single layer to find where the mistake is and it's kind of frustrating

  85. Junior Hippolyte Augustin says:

    I am a traditional artist and recently bought a Laptop and was considering buying a drawing tablet to finally test my capabilities with digital art and after watching this video I literally don't feel like drawing with a pencil or using markers and coloring pencils , this was very informative and really showed me a higher level to attain

  86. Yello says:

    dumb layer lol

  87. HXLL HOUND says:

    I have my tablet off to the side replacing my broken mouse lmao

  88. WHIZ KID says:

    How many layers traditional artists do : 1-2
    How many layers I use : 9162826817182^∞ xD

  89. Static says:

    when i was new to digital arts i had no idea there was a layer option i was i like
    omfg this is so useful you can paint an not touch the previous sketch dkdjjdndcucd

  90. 3dpencilowo says:

    That Apple actually looked pretty cool

  91. Barn Owl says:

    Oooooooohhhhh that's how you're supposed to shade I've been doing it wrong no wonder…😥

  92. Niven A. Nolte says:

    Thank you.

  93. LagiNaLangAko23 says:

    I don't have that color picker.

  94. Joseph Holliday says:

    What if I use the tablet off to the side when using it to take notes for class?

  95. Owais Idris says:

    For iterative saving you might consider GIT. Its not easy initially but once learnt its a blessing. Its a versioning environment. That means different version of same file can be saved and accessed(its like time travelling). More-over there might be situations that 2 different projects have same starting point or a base art-work. In that case git allows you to create branches. I wrote this long because at first git will make no sense.

  96. FinHz says:

    what app you use for digi drawing?

  97. puGo says:

    Can I translate it my native language? And if I can so how?

  98. Ignited _ Mira says:

    TH A N K Y O U-

  99. Eliene França says:

    Eu acho lindo os trabalhos de vcs,me inspira a criar algo diferente com um toque ,um olhar que revela sem precisar se espressar com palavras-chave .Aprendi e continuo aprendendo.valeu

  100. Patee Gutee says:

    Thanks for all the very informative videos!

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