Post pobrano z: How to Paint Natural, Afro Textured Hair in Adobe Photoshop

In this tutorial, we’re going to look at different ways of painting natural, afro textured hair in Adobe Photoshop. We’ll create a trio portrait, with each subject’s hair drawing inspiration from different hair types. 

Before diving into this lesson, check out the previous two tutorials in this series:

• How to Draw Natural, Textured, Afro Hair (How to Draw Curly Hair)
• How to Draw Natural, Textured, Afro Hairstyles (Afros, Locs, Braids, Twists)

1. How to Set Up Your File

Step 1

First, create a New Document. I like to work at a print-appropriate resolution, but choose a size that is appropriate for your goals. In this case, I’m working at 17 inches by 11 inches, at 300 dpi.

Step 2

Before we begin to draw, I would recommend reviewing your Brush Settings. Photoshop’s default Brushes sometimes yield less than desirable results, if you’re looking for the kind of sensitivity you may be used to seeing when using a standard pencil or brush.

To open your Brush Settings, go to Window > Brush.

Under the Transfer tab, make sure that Opacity Jitter and Flow Jitter are set to Pen Pressure. 

Step 3

I would also recommend keeping an eye on your Opacity and Flow in your Options Panel. With the Brush Tool selected, you’ll see options that look like the screenshot below.

Adjust the Opacity and Flow to your liking as you draw and paint. Keep in mind that Opacity refers to the amount of transparency in your stroke. Flow is in reference to how much color „comes out” of your stroke.

2. How to Create the Initial Artwork

Step 1

On a New Layer, begin to lay out your composition. I’m going to draw a portrait of three people, so we can experiment with rendering three different hair „types”: 4A, 4B, and 4C. They are the three coily hair types generally included in the Andre Walker Hair Typing System. While this system is not without its flaws (and valid criticisms), we’ll use it as a visual starting point.

Keep in mind that people, in general, do not usually fit into perfect categories. We’re all unique and beautiful in our own way—and that includes our hair! You may find that some people have combination hair or traits of more than one type. When in doubt, take a look at references! This is not a rigid rule book, but rather an example of how these qualities can be visually interpreted. 

Using a Hard Round Brush, begin to establish the basic facial structure and where you would like the hair to sit on the head. I’m going to work with hair generally inspired by 4A, 4B, and 4C curls, in that order. 

Step 2

Once I’m happy with my initial composition, I like to create a New Layer and refine my work. Notice how I kept my initial sketch visible, as a reference. Again, I largely utilize a Hard Round Brush with Pen Pressure sensitivity on for both my Opacity and Flow. 

One key tip—keep in mind that the hair here is not straight. Therefore, I generally like to avoid straight lines. Curved, varied lines will often make for a more organic aesthetic.

Want more insights on drawing this hair type? I would recommend taking a look at my How to Draw Natural, Textured Afro Hair (How to Draw Curly Hair) tutorial.

Step 3

When it comes to my initial colors, I like to place the colors on top, on a New Layer. Set this Layer’s Blending Mode to Multiply. Notice how the applied color affects the initial line art. I like to start with a single, flat color for each subject in this phase.

Step 4

Then, on a New Layer acting as a Clipping Mask, apply color variation where applicable. Notice that because we defined a specific area for our color in the previous step, we can’t color outside of this area now.

Step 5

I use a similar method to place my initial shadows. Create a New Layer, and set it as a Clipping Mask. Set this Layer’s Blending Mode to Multiply, and then experiment with where you would like your shadows to be in the composition. I decided to place my light source on the viewer’s left-hand side.

Step 6

At this point, I like to refine my work by painting on top of it. However, the focus of this tutorial is on the hair specifically, so we won’t spend too much time on rendering the other parts of the composition.

If you would, however, like to review this part of my process, you can check out some of my other tutorials, where I go through this in detail:

• 
  Digital Painting
  How to Draw & Paint a Galaxy Afro Portrait in Adobe Photoshop
  Daisy Ein

• 
  Digital Painting
  How to Draw & Paint a Rainbow Date Duo in Adobe Photoshop
  Daisy Ein

When painting on top of the base composition I’ve created, I largely use a Soft Round Brush and a Hard Round Brush. We’ll jump ahead to my rendered work and focus on the hair.

3. How to Paint Type 4A Hair

Step 1

Let’s start with the subject on the viewer’s left. My intention is to give this subject’s hair qualities that are often associated with Type 4A. These coils can have a visible curl pattern, so we’ll work with that aesthetic here.

Note that I often do a lot of drawing on the same Layer—but if you are feeling less confident and/or want to preserve your work, you may want to use a New Layer for each step.

Using a Hard Round Brush, alter the Opacity so it is around 80%. Then, begin to add varied lines, starting from the hairline. They should be darker than the hair’s base color. 

Step 2

Lower the Opacity on your Hard Round Brush even more—around 70% will do. 

Begin to layer lighter colors in a spiral pattern. It doesn’t have to be perfect—we’re just establishing some texture and flow here. Note that while the pattern is a little abstract, the movement is not. The hair has a distinct direction on the head.

I also used this same, darker color, to add some variety to the hairline, so it looks more organic.

Step 3

As we continue to layer color on the hair, make your Brush Size smaller. I alternated between dark and light colors here, again using a Hard Round Brush.

Step 4

Then, I created a New Layer and set it to Multiply, so I could bring back some of those dark values in the hairline area. 

Step 5

Now, switch to a Soft Round Brush. Keep its size small, and add small variations and curls. If you notice a space that seems unnatural or out of place, you can also use this Brush for blending. 

Remember, you can alter your Opacity and Flow—in my opinion, this is often crucial in getting the line transparency and sensitivity you want.

Step 6

Finally, I added some variation to the outermost contours of the hair. The edges looked a little too perfect—so stray hairs and extra curls can help make things look more natural. I achieved this with a Hard Round Brush.

4. How to Paint Type 4B Hair

Step 1

The center subject’s hair is going to draw inspiration from 4B hair qualities. 4Bs and 4Cs tend to have very dense curls with a lot of shrinkage. Many who have this hair type do not have a visible curl pattern, like 4As.

The difference is in the density; 4B coils are generally a little looser than 4Cs. 

I started with a Hard Round Brush. Similar to how we started with the previous subject, I added some darker values to begin to establish some depth.

Step 2

Then, layer on lighter colors. In this case, I like to use a Custom Brush, but you could use a Hard Round Brush and a Soft Round Brush with lowered Opacity. 

If you’d like more info on my Custom Brush, I created one, step by step, in my How to Draw & Paint a Galaxy Afro Portrait in Adobe Photoshop tutorial.

Remember to keep the light source in mind. I like to work in large, pillowy shapes. 

Step 3

Then, I went in and added some additional definition to the darker areas in the hairline. My process is very much about layering colors and decreasing the size of the Brush each time I do so.

Step 4 

Note how the color placement follows the movement of the hair. It isn’t haphazard. In layering colors, darker values peek out from behind the lighter ones too, helping to further visually convey depth.

Step 5

To put the finishing touches on this, I made some edits to the outermost contours of the hair. I added variation here with a Hard Round Eraser, but the varied lines were inspired by the shapes I created within the hair. 

I also added some tiny tufts on the front because it looks cute! It’s as simple as using the Eyedropper Tool to grab the dark color and then the light color. Layer them just as we did the rest of the hair. 

5. How to Paint Type 4C Hair

Step 1

And now for the character on the viewer’s right, with hair inspired by 4C qualities. I want this afro to look thick and gorgeous, with minimal curl pattern. 

Similar to the center subject, I started with darker values to help define the dimensional qualities of the hair. 

Step 2

Layer on large clumps of lighter values. Again, the same Brushes apply from the previous subject. You can stick with a Hard Round Brush, or try using a custom one that has a little texture to it. 

Step 3

Again, when layering color like this, I recommend decreasing the Brush Size. Notice in this case, however, that there’s less of a pattern. I want an aesthetic that looks soft and unified.

Step 4 

Continue to layer colors. I generally like to alternate between light and dark values; I like to use the Eyedropper Tool to „pick up” colors in the local area, where I’m painting. I find that it makes blending and choosing the right colors easier.

In addition, some variation in the hairline will make for a more natural look, similar to the previous two subjects.

Step 5

Finally, I adjusted the outermost contours of the hair using a Hard Round Eraser. In this case, I wanted the shape of the hair to stay more unified and less divided, to help further visually illustrate the thickness and density of the hair.

6. Add the Finishing Touches

Step 1

Now that I’ve rendered the hair on all three subjects, I decided I wanted to push the shadows further.

I created a New Layer and set its Blending Mode to Multiply. Make this Layer a Clipping Mask, and then apply these additional values. I used a light pinkish color.

Step 2

While the focus of this tutorial is not the background, I still wanted to do something visually interesting with it. I used a Hard Round Brush and drew some directional lines in various sizes. No need for perfectionism here—I just had fun drawing zigzags!

Step 3

Then, to give the background some varied color, I locked this layer and used a Soft Round Brush to apply color. The colors were inspired by the subjects’ shirts, using the Eyedropper Tool.

And There You Have It!

We’ve explored three different ways one could potentially paint natural, afro textured hair—inspired by 4A, 4B, and 4C! Remember, regardless of the „type”, hair comes in all sorts of wonderful varieties. When in doubt, look at references!

Happy painting! 

Post pobrano z: How to Paint Natural, Afro Textured Hair in Adobe Photoshop

In this tutorial, we’re going to look at different ways of painting natural, afro textured hair in Adobe Photoshop. We’ll create a trio portrait, with each subject’s hair drawing inspiration from different hair types. 

Before diving into this lesson, check out the previous two tutorials in this series:

• How to Draw Natural, Textured, Afro Hair (How to Draw Curly Hair)
• How to Draw Natural, Textured, Afro Hairstyles (Afros, Locs, Braids, Twists)

1. How to Set Up Your File

Step 1

First, create a New Document. I like to work at a print-appropriate resolution, but choose a size that is appropriate for your goals. In this case, I’m working at 17 inches by 11 inches, at 300 dpi.

Step 2

Before we begin to draw, I would recommend reviewing your Brush Settings. Photoshop’s default Brushes sometimes yield less than desirable results, if you’re looking for the kind of sensitivity you may be used to seeing when using a standard pencil or brush.

To open your Brush Settings, go to Window > Brush.

Under the Transfer tab, make sure that Opacity Jitter and Flow Jitter are set to Pen Pressure. 

Step 3

I would also recommend keeping an eye on your Opacity and Flow in your Options Panel. With the Brush Tool selected, you’ll see options that look like the screenshot below.

Adjust the Opacity and Flow to your liking as you draw and paint. Keep in mind that Opacity refers to the amount of transparency in your stroke. Flow is in reference to how much color „comes out” of your stroke.

2. How to Create the Initial Artwork

Step 1

On a New Layer, begin to lay out your composition. I’m going to draw a portrait of three people, so we can experiment with rendering three different hair „types”: 4A, 4B, and 4C. They are the three coily hair types generally included in the Andre Walker Hair Typing System. While this system is not without its flaws (and valid criticisms), we’ll use it as a visual starting point.

Keep in mind that people, in general, do not usually fit into perfect categories. We’re all unique and beautiful in our own way—and that includes our hair! You may find that some people have combination hair or traits of more than one type. When in doubt, take a look at references! This is not a rigid rule book, but rather an example of how these qualities can be visually interpreted. 

Using a Hard Round Brush, begin to establish the basic facial structure and where you would like the hair to sit on the head. I’m going to work with hair generally inspired by 4A, 4B, and 4C curls, in that order. 

Step 2

Once I’m happy with my initial composition, I like to create a New Layer and refine my work. Notice how I kept my initial sketch visible, as a reference. Again, I largely utilize a Hard Round Brush with Pen Pressure sensitivity on for both my Opacity and Flow. 

One key tip—keep in mind that the hair here is not straight. Therefore, I generally like to avoid straight lines. Curved, varied lines will often make for a more organic aesthetic.

Want more insights on drawing this hair type? I would recommend taking a look at my How to Draw Natural, Textured Afro Hair (How to Draw Curly Hair) tutorial.

Step 3

When it comes to my initial colors, I like to place the colors on top, on a New Layer. Set this Layer’s Blending Mode to Multiply. Notice how the applied color affects the initial line art. I like to start with a single, flat color for each subject in this phase.

Step 4

Then, on a New Layer acting as a Clipping Mask, apply color variation where applicable. Notice that because we defined a specific area for our color in the previous step, we can’t color outside of this area now.

Step 5

I use a similar method to place my initial shadows. Create a New Layer, and set it as a Clipping Mask. Set this Layer’s Blending Mode to Multiply, and then experiment with where you would like your shadows to be in the composition. I decided to place my light source on the viewer’s left-hand side.

Step 6

At this point, I like to refine my work by painting on top of it. However, the focus of this tutorial is on the hair specifically, so we won’t spend too much time on rendering the other parts of the composition.

If you would, however, like to review this part of my process, you can check out some of my other tutorials, where I go through this in detail:

• 
  Digital Painting
  How to Draw & Paint a Galaxy Afro Portrait in Adobe Photoshop
  Daisy Ein

• 
  Digital Painting
  How to Draw & Paint a Rainbow Date Duo in Adobe Photoshop
  Daisy Ein

When painting on top of the base composition I’ve created, I largely use a Soft Round Brush and a Hard Round Brush. We’ll jump ahead to my rendered work and focus on the hair.

3. How to Paint Type 4A Hair

Step 1

Let’s start with the subject on the viewer’s left. My intention is to give this subject’s hair qualities that are often associated with Type 4A. These coils can have a visible curl pattern, so we’ll work with that aesthetic here.

Note that I often do a lot of drawing on the same Layer—but if you are feeling less confident and/or want to preserve your work, you may want to use a New Layer for each step.

Using a Hard Round Brush, alter the Opacity so it is around 80%. Then, begin to add varied lines, starting from the hairline. They should be darker than the hair’s base color. 

Step 2

Lower the Opacity on your Hard Round Brush even more—around 70% will do. 

Begin to layer lighter colors in a spiral pattern. It doesn’t have to be perfect—we’re just establishing some texture and flow here. Note that while the pattern is a little abstract, the movement is not. The hair has a distinct direction on the head.

I also used this same, darker color, to add some variety to the hairline, so it looks more organic.

Step 3

As we continue to layer color on the hair, make your Brush Size smaller. I alternated between dark and light colors here, again using a Hard Round Brush.

Step 4

Then, I created a New Layer and set it to Multiply, so I could bring back some of those dark values in the hairline area. 

Step 5

Now, switch to a Soft Round Brush. Keep its size small, and add small variations and curls. If you notice a space that seems unnatural or out of place, you can also use this Brush for blending. 

Remember, you can alter your Opacity and Flow—in my opinion, this is often crucial in getting the line transparency and sensitivity you want.

Step 6

Finally, I added some variation to the outermost contours of the hair. The edges looked a little too perfect—so stray hairs and extra curls can help make things look more natural. I achieved this with a Hard Round Brush.

4. How to Paint Type 4B Hair

Step 1

The center subject’s hair is going to draw inspiration from 4B hair qualities. 4Bs and 4Cs tend to have very dense curls with a lot of shrinkage. Many who have this hair type do not have a visible curl pattern, like 4As.

The difference is in the density; 4B coils are generally a little looser than 4Cs. 

I started with a Hard Round Brush. Similar to how we started with the previous subject, I added some darker values to begin to establish some depth.

Step 2

Then, layer on lighter colors. In this case, I like to use a Custom Brush, but you could use a Hard Round Brush and a Soft Round Brush with lowered Opacity. 

If you’d like more info on my Custom Brush, I created one, step by step, in my How to Draw & Paint a Galaxy Afro Portrait in Adobe Photoshop tutorial.

Remember to keep the light source in mind. I like to work in large, pillowy shapes. 

Step 3

Then, I went in and added some additional definition to the darker areas in the hairline. My process is very much about layering colors and decreasing the size of the Brush each time I do so.

Step 4 

Note how the color placement follows the movement of the hair. It isn’t haphazard. In layering colors, darker values peek out from behind the lighter ones too, helping to further visually convey depth.

Step 5

To put the finishing touches on this, I made some edits to the outermost contours of the hair. I added variation here with a Hard Round Eraser, but the varied lines were inspired by the shapes I created within the hair. 

I also added some tiny tufts on the front because it looks cute! It’s as simple as using the Eyedropper Tool to grab the dark color and then the light color. Layer them just as we did the rest of the hair. 

5. How to Paint Type 4C Hair

Step 1

And now for the character on the viewer’s right, with hair inspired by 4C qualities. I want this afro to look thick and gorgeous, with minimal curl pattern. 

Similar to the center subject, I started with darker values to help define the dimensional qualities of the hair. 

Step 2

Layer on large clumps of lighter values. Again, the same Brushes apply from the previous subject. You can stick with a Hard Round Brush, or try using a custom one that has a little texture to it. 

Step 3

Again, when layering color like this, I recommend decreasing the Brush Size. Notice in this case, however, that there’s less of a pattern. I want an aesthetic that looks soft and unified.

Step 4 

Continue to layer colors. I generally like to alternate between light and dark values; I like to use the Eyedropper Tool to „pick up” colors in the local area, where I’m painting. I find that it makes blending and choosing the right colors easier.

In addition, some variation in the hairline will make for a more natural look, similar to the previous two subjects.

Step 5

Finally, I adjusted the outermost contours of the hair using a Hard Round Eraser. In this case, I wanted the shape of the hair to stay more unified and less divided, to help further visually illustrate the thickness and density of the hair.

6. Add the Finishing Touches

Step 1

Now that I’ve rendered the hair on all three subjects, I decided I wanted to push the shadows further.

I created a New Layer and set its Blending Mode to Multiply. Make this Layer a Clipping Mask, and then apply these additional values. I used a light pinkish color.

Step 2

While the focus of this tutorial is not the background, I still wanted to do something visually interesting with it. I used a Hard Round Brush and drew some directional lines in various sizes. No need for perfectionism here—I just had fun drawing zigzags!

Step 3

Then, to give the background some varied color, I locked this layer and used a Soft Round Brush to apply color. The colors were inspired by the subjects’ shirts, using the Eyedropper Tool.

And There You Have It!

We’ve explored three different ways one could potentially paint natural, afro textured hair—inspired by 4A, 4B, and 4C! Remember, regardless of the „type”, hair comes in all sorts of wonderful varieties. When in doubt, look at references!

Happy painting! 

Post pobrano z: How to Paint Natural, Afro Textured Hair in Adobe Photoshop

In this tutorial, we’re going to look at different ways of painting natural, afro textured hair in Adobe Photoshop. We’ll create a trio portrait, with each subject’s hair drawing inspiration from different hair types. 

Before diving into this lesson, check out the previous two tutorials in this series:

• How to Draw Natural, Textured, Afro Hair (How to Draw Curly Hair)
• How to Draw Natural, Textured, Afro Hairstyles (Afros, Locs, Braids, Twists)

1. How to Set Up Your File

Step 1

First, create a New Document. I like to work at a print-appropriate resolution, but choose a size that is appropriate for your goals. In this case, I’m working at 17 inches by 11 inches, at 300 dpi.

Step 2

Before we begin to draw, I would recommend reviewing your Brush Settings. Photoshop’s default Brushes sometimes yield less than desirable results, if you’re looking for the kind of sensitivity you may be used to seeing when using a standard pencil or brush.

To open your Brush Settings, go to Window > Brush.

Under the Transfer tab, make sure that Opacity Jitter and Flow Jitter are set to Pen Pressure. 

Step 3

I would also recommend keeping an eye on your Opacity and Flow in your Options Panel. With the Brush Tool selected, you’ll see options that look like the screenshot below.

Adjust the Opacity and Flow to your liking as you draw and paint. Keep in mind that Opacity refers to the amount of transparency in your stroke. Flow is in reference to how much color „comes out” of your stroke.

2. How to Create the Initial Artwork

Step 1

On a New Layer, begin to lay out your composition. I’m going to draw a portrait of three people, so we can experiment with rendering three different hair „types”: 4A, 4B, and 4C. They are the three coily hair types generally included in the Andre Walker Hair Typing System. While this system is not without its flaws (and valid criticisms), we’ll use it as a visual starting point.

Keep in mind that people, in general, do not usually fit into perfect categories. We’re all unique and beautiful in our own way—and that includes our hair! You may find that some people have combination hair or traits of more than one type. When in doubt, take a look at references! This is not a rigid rule book, but rather an example of how these qualities can be visually interpreted. 

Using a Hard Round Brush, begin to establish the basic facial structure and where you would like the hair to sit on the head. I’m going to work with hair generally inspired by 4A, 4B, and 4C curls, in that order. 

Step 2

Once I’m happy with my initial composition, I like to create a New Layer and refine my work. Notice how I kept my initial sketch visible, as a reference. Again, I largely utilize a Hard Round Brush with Pen Pressure sensitivity on for both my Opacity and Flow. 

One key tip—keep in mind that the hair here is not straight. Therefore, I generally like to avoid straight lines. Curved, varied lines will often make for a more organic aesthetic.

Want more insights on drawing this hair type? I would recommend taking a look at my How to Draw Natural, Textured Afro Hair (How to Draw Curly Hair) tutorial.

Step 3

When it comes to my initial colors, I like to place the colors on top, on a New Layer. Set this Layer’s Blending Mode to Multiply. Notice how the applied color affects the initial line art. I like to start with a single, flat color for each subject in this phase.

Step 4

Then, on a New Layer acting as a Clipping Mask, apply color variation where applicable. Notice that because we defined a specific area for our color in the previous step, we can’t color outside of this area now.

Step 5

I use a similar method to place my initial shadows. Create a New Layer, and set it as a Clipping Mask. Set this Layer’s Blending Mode to Multiply, and then experiment with where you would like your shadows to be in the composition. I decided to place my light source on the viewer’s left-hand side.

Step 6

At this point, I like to refine my work by painting on top of it. However, the focus of this tutorial is on the hair specifically, so we won’t spend too much time on rendering the other parts of the composition.

If you would, however, like to review this part of my process, you can check out some of my other tutorials, where I go through this in detail:

• 
  Digital Painting
  How to Draw & Paint a Galaxy Afro Portrait in Adobe Photoshop
  Daisy Ein

• 
  Digital Painting
  How to Draw & Paint a Rainbow Date Duo in Adobe Photoshop
  Daisy Ein

When painting on top of the base composition I’ve created, I largely use a Soft Round Brush and a Hard Round Brush. We’ll jump ahead to my rendered work and focus on the hair.

3. How to Paint Type 4A Hair

Step 1

Let’s start with the subject on the viewer’s left. My intention is to give this subject’s hair qualities that are often associated with Type 4A. These coils can have a visible curl pattern, so we’ll work with that aesthetic here.

Note that I often do a lot of drawing on the same Layer—but if you are feeling less confident and/or want to preserve your work, you may want to use a New Layer for each step.

Using a Hard Round Brush, alter the Opacity so it is around 80%. Then, begin to add varied lines, starting from the hairline. They should be darker than the hair’s base color. 

Step 2

Lower the Opacity on your Hard Round Brush even more—around 70% will do. 

Begin to layer lighter colors in a spiral pattern. It doesn’t have to be perfect—we’re just establishing some texture and flow here. Note that while the pattern is a little abstract, the movement is not. The hair has a distinct direction on the head.

I also used this same, darker color, to add some variety to the hairline, so it looks more organic.

Step 3

As we continue to layer color on the hair, make your Brush Size smaller. I alternated between dark and light colors here, again using a Hard Round Brush.

Step 4

Then, I created a New Layer and set it to Multiply, so I could bring back some of those dark values in the hairline area. 

Step 5

Now, switch to a Soft Round Brush. Keep its size small, and add small variations and curls. If you notice a space that seems unnatural or out of place, you can also use this Brush for blending. 

Remember, you can alter your Opacity and Flow—in my opinion, this is often crucial in getting the line transparency and sensitivity you want.

Step 6

Finally, I added some variation to the outermost contours of the hair. The edges looked a little too perfect—so stray hairs and extra curls can help make things look more natural. I achieved this with a Hard Round Brush.

4. How to Paint Type 4B Hair

Step 1

The center subject’s hair is going to draw inspiration from 4B hair qualities. 4Bs and 4Cs tend to have very dense curls with a lot of shrinkage. Many who have this hair type do not have a visible curl pattern, like 4As.

The difference is in the density; 4B coils are generally a little looser than 4Cs. 

I started with a Hard Round Brush. Similar to how we started with the previous subject, I added some darker values to begin to establish some depth.

Step 2

Then, layer on lighter colors. In this case, I like to use a Custom Brush, but you could use a Hard Round Brush and a Soft Round Brush with lowered Opacity. 

If you’d like more info on my Custom Brush, I created one, step by step, in my How to Draw & Paint a Galaxy Afro Portrait in Adobe Photoshop tutorial.

Remember to keep the light source in mind. I like to work in large, pillowy shapes. 

Step 3

Then, I went in and added some additional definition to the darker areas in the hairline. My process is very much about layering colors and decreasing the size of the Brush each time I do so.

Step 4 

Note how the color placement follows the movement of the hair. It isn’t haphazard. In layering colors, darker values peek out from behind the lighter ones too, helping to further visually convey depth.

Step 5

To put the finishing touches on this, I made some edits to the outermost contours of the hair. I added variation here with a Hard Round Eraser, but the varied lines were inspired by the shapes I created within the hair. 

I also added some tiny tufts on the front because it looks cute! It’s as simple as using the Eyedropper Tool to grab the dark color and then the light color. Layer them just as we did the rest of the hair. 

5. How to Paint Type 4C Hair

Step 1

And now for the character on the viewer’s right, with hair inspired by 4C qualities. I want this afro to look thick and gorgeous, with minimal curl pattern. 

Similar to the center subject, I started with darker values to help define the dimensional qualities of the hair. 

Step 2

Layer on large clumps of lighter values. Again, the same Brushes apply from the previous subject. You can stick with a Hard Round Brush, or try using a custom one that has a little texture to it. 

Step 3

Again, when layering color like this, I recommend decreasing the Brush Size. Notice in this case, however, that there’s less of a pattern. I want an aesthetic that looks soft and unified.

Step 4 

Continue to layer colors. I generally like to alternate between light and dark values; I like to use the Eyedropper Tool to „pick up” colors in the local area, where I’m painting. I find that it makes blending and choosing the right colors easier.

In addition, some variation in the hairline will make for a more natural look, similar to the previous two subjects.

Step 5

Finally, I adjusted the outermost contours of the hair using a Hard Round Eraser. In this case, I wanted the shape of the hair to stay more unified and less divided, to help further visually illustrate the thickness and density of the hair.

6. Add the Finishing Touches

Step 1

Now that I’ve rendered the hair on all three subjects, I decided I wanted to push the shadows further.

I created a New Layer and set its Blending Mode to Multiply. Make this Layer a Clipping Mask, and then apply these additional values. I used a light pinkish color.

Step 2

While the focus of this tutorial is not the background, I still wanted to do something visually interesting with it. I used a Hard Round Brush and drew some directional lines in various sizes. No need for perfectionism here—I just had fun drawing zigzags!

Step 3

Then, to give the background some varied color, I locked this layer and used a Soft Round Brush to apply color. The colors were inspired by the subjects’ shirts, using the Eyedropper Tool.

And There You Have It!

We’ve explored three different ways one could potentially paint natural, afro textured hair—inspired by 4A, 4B, and 4C! Remember, regardless of the „type”, hair comes in all sorts of wonderful varieties. When in doubt, look at references!

Happy painting! 

Post pobrano z: How to Paint Natural, Afro Textured Hair in Adobe Photoshop

In this tutorial, we’re going to look at different ways of painting natural, afro textured hair in Adobe Photoshop. We’ll create a trio portrait, with each subject’s hair drawing inspiration from different hair types. 

Before diving into this lesson, check out the previous two tutorials in this series:

• How to Draw Natural, Textured, Afro Hair (How to Draw Curly Hair)
• How to Draw Natural, Textured, Afro Hairstyles (Afros, Locs, Braids, Twists)

1. How to Set Up Your File

Step 1

First, create a New Document. I like to work at a print-appropriate resolution, but choose a size that is appropriate for your goals. In this case, I’m working at 17 inches by 11 inches, at 300 dpi.

Step 2

Before we begin to draw, I would recommend reviewing your Brush Settings. Photoshop’s default Brushes sometimes yield less than desirable results, if you’re looking for the kind of sensitivity you may be used to seeing when using a standard pencil or brush.

To open your Brush Settings, go to Window > Brush.

Under the Transfer tab, make sure that Opacity Jitter and Flow Jitter are set to Pen Pressure. 

Step 3

I would also recommend keeping an eye on your Opacity and Flow in your Options Panel. With the Brush Tool selected, you’ll see options that look like the screenshot below.

Adjust the Opacity and Flow to your liking as you draw and paint. Keep in mind that Opacity refers to the amount of transparency in your stroke. Flow is in reference to how much color „comes out” of your stroke.

2. How to Create the Initial Artwork

Step 1

On a New Layer, begin to lay out your composition. I’m going to draw a portrait of three people, so we can experiment with rendering three different hair „types”: 4A, 4B, and 4C. They are the three coily hair types generally included in the Andre Walker Hair Typing System. While this system is not without its flaws (and valid criticisms), we’ll use it as a visual starting point.

Keep in mind that people, in general, do not usually fit into perfect categories. We’re all unique and beautiful in our own way—and that includes our hair! You may find that some people have combination hair or traits of more than one type. When in doubt, take a look at references! This is not a rigid rule book, but rather an example of how these qualities can be visually interpreted. 

Using a Hard Round Brush, begin to establish the basic facial structure and where you would like the hair to sit on the head. I’m going to work with hair generally inspired by 4A, 4B, and 4C curls, in that order. 

Step 2

Once I’m happy with my initial composition, I like to create a New Layer and refine my work. Notice how I kept my initial sketch visible, as a reference. Again, I largely utilize a Hard Round Brush with Pen Pressure sensitivity on for both my Opacity and Flow. 

One key tip—keep in mind that the hair here is not straight. Therefore, I generally like to avoid straight lines. Curved, varied lines will often make for a more organic aesthetic.

Want more insights on drawing this hair type? I would recommend taking a look at my How to Draw Natural, Textured Afro Hair (How to Draw Curly Hair) tutorial.

Step 3

When it comes to my initial colors, I like to place the colors on top, on a New Layer. Set this Layer’s Blending Mode to Multiply. Notice how the applied color affects the initial line art. I like to start with a single, flat color for each subject in this phase.

Step 4

Then, on a New Layer acting as a Clipping Mask, apply color variation where applicable. Notice that because we defined a specific area for our color in the previous step, we can’t color outside of this area now.

Step 5

I use a similar method to place my initial shadows. Create a New Layer, and set it as a Clipping Mask. Set this Layer’s Blending Mode to Multiply, and then experiment with where you would like your shadows to be in the composition. I decided to place my light source on the viewer’s left-hand side.

Step 6

At this point, I like to refine my work by painting on top of it. However, the focus of this tutorial is on the hair specifically, so we won’t spend too much time on rendering the other parts of the composition.

If you would, however, like to review this part of my process, you can check out some of my other tutorials, where I go through this in detail:

• 
  Digital Painting
  How to Draw & Paint a Galaxy Afro Portrait in Adobe Photoshop
  Daisy Ein

• 
  Digital Painting
  How to Draw & Paint a Rainbow Date Duo in Adobe Photoshop
  Daisy Ein

When painting on top of the base composition I’ve created, I largely use a Soft Round Brush and a Hard Round Brush. We’ll jump ahead to my rendered work and focus on the hair.

3. How to Paint Type 4A Hair

Step 1

Let’s start with the subject on the viewer’s left. My intention is to give this subject’s hair qualities that are often associated with Type 4A. These coils can have a visible curl pattern, so we’ll work with that aesthetic here.

Note that I often do a lot of drawing on the same Layer—but if you are feeling less confident and/or want to preserve your work, you may want to use a New Layer for each step.

Using a Hard Round Brush, alter the Opacity so it is around 80%. Then, begin to add varied lines, starting from the hairline. They should be darker than the hair’s base color. 

Step 2

Lower the Opacity on your Hard Round Brush even more—around 70% will do. 

Begin to layer lighter colors in a spiral pattern. It doesn’t have to be perfect—we’re just establishing some texture and flow here. Note that while the pattern is a little abstract, the movement is not. The hair has a distinct direction on the head.

I also used this same, darker color, to add some variety to the hairline, so it looks more organic.

Step 3

As we continue to layer color on the hair, make your Brush Size smaller. I alternated between dark and light colors here, again using a Hard Round Brush.

Step 4

Then, I created a New Layer and set it to Multiply, so I could bring back some of those dark values in the hairline area. 

Step 5

Now, switch to a Soft Round Brush. Keep its size small, and add small variations and curls. If you notice a space that seems unnatural or out of place, you can also use this Brush for blending. 

Remember, you can alter your Opacity and Flow—in my opinion, this is often crucial in getting the line transparency and sensitivity you want.

Step 6

Finally, I added some variation to the outermost contours of the hair. The edges looked a little too perfect—so stray hairs and extra curls can help make things look more natural. I achieved this with a Hard Round Brush.

4. How to Paint Type 4B Hair

Step 1

The center subject’s hair is going to draw inspiration from 4B hair qualities. 4Bs and 4Cs tend to have very dense curls with a lot of shrinkage. Many who have this hair type do not have a visible curl pattern, like 4As.

The difference is in the density; 4B coils are generally a little looser than 4Cs. 

I started with a Hard Round Brush. Similar to how we started with the previous subject, I added some darker values to begin to establish some depth.

Step 2

Then, layer on lighter colors. In this case, I like to use a Custom Brush, but you could use a Hard Round Brush and a Soft Round Brush with lowered Opacity. 

If you’d like more info on my Custom Brush, I created one, step by step, in my How to Draw & Paint a Galaxy Afro Portrait in Adobe Photoshop tutorial.

Remember to keep the light source in mind. I like to work in large, pillowy shapes. 

Step 3

Then, I went in and added some additional definition to the darker areas in the hairline. My process is very much about layering colors and decreasing the size of the Brush each time I do so.

Step 4 

Note how the color placement follows the movement of the hair. It isn’t haphazard. In layering colors, darker values peek out from behind the lighter ones too, helping to further visually convey depth.

Step 5

To put the finishing touches on this, I made some edits to the outermost contours of the hair. I added variation here with a Hard Round Eraser, but the varied lines were inspired by the shapes I created within the hair. 

I also added some tiny tufts on the front because it looks cute! It’s as simple as using the Eyedropper Tool to grab the dark color and then the light color. Layer them just as we did the rest of the hair. 

5. How to Paint Type 4C Hair

Step 1

And now for the character on the viewer’s right, with hair inspired by 4C qualities. I want this afro to look thick and gorgeous, with minimal curl pattern. 

Similar to the center subject, I started with darker values to help define the dimensional qualities of the hair. 

Step 2

Layer on large clumps of lighter values. Again, the same Brushes apply from the previous subject. You can stick with a Hard Round Brush, or try using a custom one that has a little texture to it. 

Step 3

Again, when layering color like this, I recommend decreasing the Brush Size. Notice in this case, however, that there’s less of a pattern. I want an aesthetic that looks soft and unified.

Step 4 

Continue to layer colors. I generally like to alternate between light and dark values; I like to use the Eyedropper Tool to „pick up” colors in the local area, where I’m painting. I find that it makes blending and choosing the right colors easier.

In addition, some variation in the hairline will make for a more natural look, similar to the previous two subjects.

Step 5

Finally, I adjusted the outermost contours of the hair using a Hard Round Eraser. In this case, I wanted the shape of the hair to stay more unified and less divided, to help further visually illustrate the thickness and density of the hair.

6. Add the Finishing Touches

Step 1

Now that I’ve rendered the hair on all three subjects, I decided I wanted to push the shadows further.

I created a New Layer and set its Blending Mode to Multiply. Make this Layer a Clipping Mask, and then apply these additional values. I used a light pinkish color.

Step 2

While the focus of this tutorial is not the background, I still wanted to do something visually interesting with it. I used a Hard Round Brush and drew some directional lines in various sizes. No need for perfectionism here—I just had fun drawing zigzags!

Step 3

Then, to give the background some varied color, I locked this layer and used a Soft Round Brush to apply color. The colors were inspired by the subjects’ shirts, using the Eyedropper Tool.

And There You Have It!

We’ve explored three different ways one could potentially paint natural, afro textured hair—inspired by 4A, 4B, and 4C! Remember, regardless of the „type”, hair comes in all sorts of wonderful varieties. When in doubt, look at references!

Happy painting! 

Post pobrano z: How to Animate a Creative Reveal Animation in Toon Boom

Learn how to transform your drawing from one look to another in this tutorial. With a few drawings and some Toon Boom tricks, give your character that awesome magical reveal!

1. How to Set Up the Scene

Step 1

Let’s begin by starting up Toon Boom.

I like to customize my resolution settings by clicking the + button and filling in my preferred dimensions. For this project, I set the Width and Height to 850, and the Frame Rate to 12.

When all the boxes are filled in, go ahead and click Create.

Step 2

Next, create the before and after images. It’s best that they have the same pose. Here, their difference is their hair and outfits.

Step 3

On your Timeline, create your before image on a layer named pose1.

Then create the after image on a new layer named pose2.

Make sure that pose2 is on top of pose1, and make sure they are perfectly aligned with each other.

Step 4

Create a new layer, and name it rough_path. This will serve as our guide for the effects we will be adding later on.

To animate the path, draw loops around the character from top to bottom.

Step 5

Play your animation.

Now, we have a rough idea of what our output will look like. As demonstrated below, larger spaces between drawings result in faster movement, and narrower spaces result in slower movement.

2. How to Mask Drawings

Step 1

Next, we’re going to create a mask for the transformation effect from pose1 to pose2.

Create a new layer and name it mask. Go to the frame where the drawing from the rough_path layer first makes contact with the pose1 and pose2 layers—in this case, Frame 4.

Step 2

Using the Polyline, create a new shape. The bottom of the shape should conform to the drawing from the rough_path layer. The top of the shape should be able to cover the rest of the character.

Using the Paint tool, fill the shape. The color used isn’t important.

Step 3

Do the same for the next frames, until the pose1 and pose2 layers are completely covered.

Extend the last frame by dragging the Playhead to the end of the Timeline and pressing F5.

Step 4

Create a new layer named mask2, and Copy and Paste the frames from mask onto this layer.

Step 5

Now, we go to the Network tab. To find it, simply click the downward arrow symbol on your right-side panel, and select Network from the drop-down list.

You’ll see a bunch of nodes that are named according to our layers on the Timeline, and these nodes are connected to a rectangle labelled Composite.

Step 6

If the nodes on your network are all clumped into one spot, simply select all the nodes and click the button with the symbol of three rectangles. If you can’t find this button on your interface, go to Windows > Toolbars and make sure Scripting is checked.

Once the button is clicked, the Order Network Settings tab pops up. Simply click OK, and your nodes will become evenly spaced.

Step 7

On the panel where your camera view is, click the downward arrow symbol and select the Module Library from the drop-down menu.

Look for the Cutter and drag it onto the Network.

Repeat, so that you’ll have two Cutter nodes on the Network.

Step 8

Take a look at the Network.

For more consistency, double-click mask and rename it to mask1.

Arrange your network such that the mask1 and pose1 nodes are beside each other, and likewise with the mask2 and pose2 nodes. Then drag a Cutter node right underneath each pair.

Step 9

Click the cable of mask2 and drag it to the left-side port of the Cutter.

Click the cable of pose2 and drag it to the right-side port of the Cutter.

Click the bottom port of the Cutter and drag the cable to the Composite.

Click the yellow box on the Cutter node. When the Layer Properties box pops up, make sure the Inverted check box is checked.

Step 10

Do the same for the mask1 and pose1 nodes.

On the Layer Properties of the Cutter, make sure the Inverted check box is unchecked.

Step 11

Go back to the camera view and play the animation. Now, pose1 and pose2 are properly masked!

3. How to Add a Blur Effect

Step 1

Go to the Module Library again and look for Matte-Blur. Drag it onto the Network, and then return to the Camera view.

Step 2

Disable the rough_path layer by clicking the check mark aligned under the eye symbol.

Enable the Render View by clicking the button indicated below. This gives you a preview of what your frame would look like when rendered.

Step 3

On your Network, take the cable of mask2 and connect it to the Matte-Blur. Connect the Matte-Blur to the left-side port of the Cutter.

Step 4

Click the yellow box on the Matte-Blur node to bring out the Layer Properties settings.

Make the following changes:

• Blur Type: Directional
• Radius: 70
• Directional Angle: 90
• Directional Falloff Rate: 1

Now you have a blur effect on your animation!

Note: You can only see this effect on the Render View or once your project is rendered into video format.

4. How to Create a Ring of Sparkles

Step 1

Animate three variations of sparkles. We’ll just be using these over and over again.

To animate a sparkle, start by drawing a small dot, and then expand it into a bigger and bigger shape. The shape could be a diamond, or an eight-pointed star, or whatever you like.

Then break the shape apart into several smaller shapes. Make them smaller and spread them apart.

Step 2

On the timeline, create new layers for the sparkle animations, namely spark1, spark2, and spark3.

Situate the first drawings of these layers on Frame 2.

Select these three layers, and click the Add Peg button indicated below. This will add pegs to your layers, which helps make the animating easier.

Step 3

Make sure the rough_path layer is enabled again.

On Frame 2 of the spark3 peg (or spark3-p), use the Transform tool to drag the drawing to the loop from the rough_path guide.

This creates a Keyframe, which you can see as a red dot that appears on the peg layer.

Step 4

At the end of the animation, which is on Frame 8, use the Transform tool again to drag the drawing along the guide.

This creates another Keyframe. Now, an animation has been created between the two Keyframes, where the drawings are moving from the first position to the second.

Step 5

Do the same on spark2-p and spark1-p, and set Keyframes on the start and end of the animations.

You just want to make the sparkle animations follow the loop guides.

Step 6

On spark3, copy and paste the frame animation. Basically, select Frame 2 to 8, press Control-C, and then go to Frame 9 and press Control-P.

Step 7

Since the animation on the rough_path is quite inconsistent from here, we’re going to set the Keyframes one by one.

Starting on Frame 9, drag the drawing along the loop guide. Then go to the next frame and drag again, and then keep repeating.

Step 8

Copy and paste the frame animation again up to the end of the scene.

Step 9

Continue dragging the drawing along the loop guide.

When you’ve reached the end of the loop guide or the rough_path animation, drag the sparkle drawing to different parts of the scene.

Step 10

Play the animation. Here, we have a few animated sparkles on our scene. 

Now, the goal is to make a whole ring of sparkles surrounding the transformation. 

Step 11

Keep Copy and Pasting the three variations of the sparkle animation onto new layers and keep setting Keyframes along the loop guide.

This is the most tedious and repetitive process. Just keep getting creative with the Transform tool, the Reposition All Drawings tool, and Copy and Pasting. Then just keep filling the curve of the loop with as many sparkles as you can manage.

5. How to Set the Background Color

Click the + symbol on the Timeline and select the Colour-Card from the drop-down list. A white color comes out by default.

Double-click the Colour-Card layer so the Layer Properties tab pops up. Click the color on the tab so that a color wheel pops up. Select the color you like, and then close the tabs.

6. How to Export the Scene

When you’re satisfied with your animation, go to File > Export > Movie. Browse where you want to save your animation, and then click OK.

When your animation finishes rendering, you’ll have a .MOV file of your scene.

And We’re Finished! Awesome Job!

Hope you learned a few neat tricks from this tutorial! There’s a lot you can do once you’ve gotten the hang of some basics and learned some cool techniques.

So keep practicing and experimenting to unleash all that creativity inside you!

Looking for more tutorials? Why not try these:

• 

  The Beginner’s Guide to Toon Boom

  Getting into animation can start from anywhere, from a pad of paper and a pencil to a computer and a drawing tablet. The first step always begins with…
• 

  How to Animate Flowing Hair in Toon Boom

  Learn how to animate your character’s hair frame by frame. Using Toon Boom, you’ll see how you can give a wind-blown effect to your artwork!
• 

  How to Animate an Explosion in Toon Boom

  Effects animation can be so mesmerizing to look at. Continue reading this tutorial to get a glimpse of how you can create your own!
• 

  How to Animate a Twirling Girl in Toon Boom

  In this tutorial, we will walk through the steps in animating a twirling character using Toon Boom Stage 10. We will learn how to draw rough poses, how to…

Post pobrano z: How to Animate a Creative Reveal Animation in Toon Boom

Learn how to transform your drawing from one look to another in this tutorial. With a few drawings and some Toon Boom tricks, give your character that awesome magical reveal!

1. How to Set Up the Scene

Step 1

Let’s begin by starting up Toon Boom.

I like to customize my resolution settings by clicking the + button and filling in my preferred dimensions. For this project, I set the Width and Height to 850, and the Frame Rate to 12.

When all the boxes are filled in, go ahead and click Create.

Step 2

Next, create the before and after images. It’s best that they have the same pose. Here, their difference is their hair and outfits.

Step 3

On your Timeline, create your before image on a layer named pose1.

Then create the after image on a new layer named pose2.

Make sure that pose2 is on top of pose1, and make sure they are perfectly aligned with each other.

Step 4

Create a new layer, and name it rough_path. This will serve as our guide for the effects we will be adding later on.

To animate the path, draw loops around the character from top to bottom.

Step 5

Play your animation.

Now, we have a rough idea of what our output will look like. As demonstrated below, larger spaces between drawings result in faster movement, and narrower spaces result in slower movement.

2. How to Mask Drawings

Step 1

Next, we’re going to create a mask for the transformation effect from pose1 to pose2.

Create a new layer and name it mask. Go to the frame where the drawing from the rough_path layer first makes contact with the pose1 and pose2 layers—in this case, Frame 4.

Step 2

Using the Polyline, create a new shape. The bottom of the shape should conform to the drawing from the rough_path layer. The top of the shape should be able to cover the rest of the character.

Using the Paint tool, fill the shape. The color used isn’t important.

Step 3

Do the same for the next frames, until the pose1 and pose2 layers are completely covered.

Extend the last frame by dragging the Playhead to the end of the Timeline and pressing F5.

Step 4

Create a new layer named mask2, and Copy and Paste the frames from mask onto this layer.

Step 5

Now, we go to the Network tab. To find it, simply click the downward arrow symbol on your right-side panel, and select Network from the drop-down list.

You’ll see a bunch of nodes that are named according to our layers on the Timeline, and these nodes are connected to a rectangle labelled Composite.

Step 6

If the nodes on your network are all clumped into one spot, simply select all the nodes and click the button with the symbol of three rectangles. If you can’t find this button on your interface, go to Windows > Toolbars and make sure Scripting is checked.

Once the button is clicked, the Order Network Settings tab pops up. Simply click OK, and your nodes will become evenly spaced.

Step 7

On the panel where your camera view is, click the downward arrow symbol and select the Module Library from the drop-down menu.

Look for the Cutter and drag it onto the Network.

Repeat, so that you’ll have two Cutter nodes on the Network.

Step 8

Take a look at the Network.

For more consistency, double-click mask and rename it to mask1.

Arrange your network such that the mask1 and pose1 nodes are beside each other, and likewise with the mask2 and pose2 nodes. Then drag a Cutter node right underneath each pair.

Step 9

Click the cable of mask2 and drag it to the left-side port of the Cutter.

Click the cable of pose2 and drag it to the right-side port of the Cutter.

Click the bottom port of the Cutter and drag the cable to the Composite.

Click the yellow box on the Cutter node. When the Layer Properties box pops up, make sure the Inverted check box is checked.

Step 10

Do the same for the mask1 and pose1 nodes.

On the Layer Properties of the Cutter, make sure the Inverted check box is unchecked.

Step 11

Go back to the camera view and play the animation. Now, pose1 and pose2 are properly masked!

3. How to Add a Blur Effect

Step 1

Go to the Module Library again and look for Matte-Blur. Drag it onto the Network, and then return to the Camera view.

Step 2

Disable the rough_path layer by clicking the check mark aligned under the eye symbol.

Enable the Render View by clicking the button indicated below. This gives you a preview of what your frame would look like when rendered.

Step 3

On your Network, take the cable of mask2 and connect it to the Matte-Blur. Connect the Matte-Blur to the left-side port of the Cutter.

Step 4

Click the yellow box on the Matte-Blur node to bring out the Layer Properties settings.

Make the following changes:

• Blur Type: Directional
• Radius: 70
• Directional Angle: 90
• Directional Falloff Rate: 1

Now you have a blur effect on your animation!

Note: You can only see this effect on the Render View or once your project is rendered into video format.

4. How to Create a Ring of Sparkles

Step 1

Animate three variations of sparkles. We’ll just be using these over and over again.

To animate a sparkle, start by drawing a small dot, and then expand it into a bigger and bigger shape. The shape could be a diamond, or an eight-pointed star, or whatever you like.

Then break the shape apart into several smaller shapes. Make them smaller and spread them apart.

Step 2

On the timeline, create new layers for the sparkle animations, namely spark1, spark2, and spark3.

Situate the first drawings of these layers on Frame 2.

Select these three layers, and click the Add Peg button indicated below. This will add pegs to your layers, which helps make the animating easier.

Step 3

Make sure the rough_path layer is enabled again.

On Frame 2 of the spark3 peg (or spark3-p), use the Transform tool to drag the drawing to the loop from the rough_path guide.

This creates a Keyframe, which you can see as a red dot that appears on the peg layer.

Step 4

At the end of the animation, which is on Frame 8, use the Transform tool again to drag the drawing along the guide.

This creates another Keyframe. Now, an animation has been created between the two Keyframes, where the drawings are moving from the first position to the second.

Step 5

Do the same on spark2-p and spark1-p, and set Keyframes on the start and end of the animations.

You just want to make the sparkle animations follow the loop guides.

Step 6

On spark3, copy and paste the frame animation. Basically, select Frame 2 to 8, press Control-C, and then go to Frame 9 and press Control-P.

Step 7

Since the animation on the rough_path is quite inconsistent from here, we’re going to set the Keyframes one by one.

Starting on Frame 9, drag the drawing along the loop guide. Then go to the next frame and drag again, and then keep repeating.

Step 8

Copy and paste the frame animation again up to the end of the scene.

Step 9

Continue dragging the drawing along the loop guide.

When you’ve reached the end of the loop guide or the rough_path animation, drag the sparkle drawing to different parts of the scene.

Step 10

Play the animation. Here, we have a few animated sparkles on our scene. 

Now, the goal is to make a whole ring of sparkles surrounding the transformation. 

Step 11

Keep Copy and Pasting the three variations of the sparkle animation onto new layers and keep setting Keyframes along the loop guide.

This is the most tedious and repetitive process. Just keep getting creative with the Transform tool, the Reposition All Drawings tool, and Copy and Pasting. Then just keep filling the curve of the loop with as many sparkles as you can manage.

5. How to Set the Background Color

Click the + symbol on the Timeline and select the Colour-Card from the drop-down list. A white color comes out by default.

Double-click the Colour-Card layer so the Layer Properties tab pops up. Click the color on the tab so that a color wheel pops up. Select the color you like, and then close the tabs.

6. How to Export the Scene

When you’re satisfied with your animation, go to File > Export > Movie. Browse where you want to save your animation, and then click OK.

When your animation finishes rendering, you’ll have a .MOV file of your scene.

And We’re Finished! Awesome Job!

Hope you learned a few neat tricks from this tutorial! There’s a lot you can do once you’ve gotten the hang of some basics and learned some cool techniques.

So keep practicing and experimenting to unleash all that creativity inside you!

Looking for more tutorials? Why not try these:

• 

  The Beginner’s Guide to Toon Boom

  Getting into animation can start from anywhere, from a pad of paper and a pencil to a computer and a drawing tablet. The first step always begins with…
• 

  How to Animate Flowing Hair in Toon Boom

  Learn how to animate your character’s hair frame by frame. Using Toon Boom, you’ll see how you can give a wind-blown effect to your artwork!
• 

  How to Animate an Explosion in Toon Boom

  Effects animation can be so mesmerizing to look at. Continue reading this tutorial to get a glimpse of how you can create your own!
• 

  How to Animate a Twirling Girl in Toon Boom

  In this tutorial, we will walk through the steps in animating a twirling character using Toon Boom Stage 10. We will learn how to draw rough poses, how to…