Knowledge is beautiful to draw numbers needed, in particular, by calligraphists and calendar-making experts. But every person is capable of doing this. Drawing numbers both by hand and with the help of special segment stencils. The article describes how to make a sample for numbers in the hi-tech genre.

Instructions

1. Look at the different digital indicators included in calculators, electronic watch, microwave ovens, and other similar appliances. Pay attention to how the sections are arranged on them, which of them are enabled and which are disabled while displaying any of the numbers from 0 to 9.

2. Compare different digital indicators. You will find that, although the arrangement of their sections is traditionally identical, there are also differences in proportions (the ratio of the width of the familiar place to its height), the thickness of the sections, their shape (rectangular, rhombic, round), as well as the inclination of the font. In addition, the indicators may display differently numbers 6, 7 and 9.

3. As a basis for the stencil, use a sheet cut from the middle part of a plastic bottle. Rinse it and dry it. Iron it (but not with an iron) until it is flat. Remove small chamfers from the corners of the sheet.

4. Transfer the drawing of the sections with the proportions, shape and slope you like, enlarging the image to the required size in advance. Use a ruler and a thin felt-tip pen to draw silhouettes. After this, using a model knife, cut out holes corresponding to the sections in location and shape.

5. To draw a number using a stencil, attach it to a sheet of paper, then use a felt-tip pen to fill in the section holes corresponding to the desired number. If you want to make a shadow result, apply it in one color, then move the stencil slightly to the right and up, and then apply the same number again in a different color. Just like when using any other stencil, you can apply symbols by painting sections not entirely, but only in silhouette. But in this case it is not necessary to paint over the jumpers, as is the case with an ordinary font stencil.

In computer programs, presentations, plans, as well as on Internet sites, memorable and brilliant icons are often used that emphasize the theme of a particular section of the site or presentation. If you are creating a section on your website with an archive of publications or want to introduce your visitors and readers to the chronology of your works, an icon in the form of an open sheet of a tear-off calendar will help you. You can create such an icon with the support of Adobe Photoshop.

Instructions

1. Do newest document and draw a tight long rectangle with a black fill using the tool Rectangle Tool. Later, select the option on the toolbar that allows you to draw a rectangle with rounded edges and adjust it so that the radius of the corners is 10 pixels. On top of the first rectangle, draw a second one of the same length, then merge the layers (Merge Visible).

2. The resulting shape will have two sharp edges at the bottom and two rounded edges at the top. To the created layer with the shape, apply some layer genres (Layer Style) - Inner Shadow, with a Multiply blending mode and a transparency of 75%, as well as a Gradient Overlay with a color transition that suits you: say, from dark blue to light blue.

3. Click on the layer while holding down the Ctrl key to select the image, and then open the Select menu section and select the Modify>Contract option. In the window that opens, set the selection value to 2 pixels. Click OK, and after that make a new layer and select the Stroke option from the Edit menu.

4. Customize the stroke - give it a suitable color, specify the placement in the center, and set the stroke thickness to 1 pixel. Zoom in on the image and draw a tight vertical black rectangle across the figure, and then double-click on the layer with the new figure and set its genre to Bevel and Emboss with the Pillow Emboss and Smooth settings.

5. Later, go to the Color Overlay genres tab and set White color with typical mixing mode. You will get a voluminous clear part - duplicate the layer with this part several times, and then place the resulting parts along each length of the workpiece.

6. Under the blank, draw a black rectangle, and then apply several layer genres to it – Drop Shadow (Multiply, Opacity 43%), Gradient Overlay (Linear), Stroke (1 px, Outside, Normal). You will get a voluminous, clear sheet.

7. Duplicate the layer several times and place several others under the first sheet to simulate a stack of paper. On the top sheet with text tool support, write any text or put a date.

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Orchids are perennial monocotyledonous herbaceous plants. There are more than 24,000 varieties. This flower attracts with its unusually beautiful shape. Try drawing orchid .

Instructions

1. Using light lines, outline an oval for the center of the flower. On each side, outline the petals that connect to the top of the oval. Each person needs to draw 6 huge petals that are not adjacent to each other. First draw them without bends. Draw one petal vertically upward. On the sides of it, place two petals slightly up and to the sides. Draw one petal in the shape of a pot-bellied number 8, not united in the center. Draw the last two smaller petals in the shape of circles on the sides of the central oval, under the other side petals.

2. Draw a thin, elongated leaf coming out from behind the top right petal. Draw a thin trunk, from which draw another leaf.

3. Change the shape of the petals by adding wavy lines. Change the shape of the flower's core so that it is an irregular oval. Erase the extra lines.

4. Add another line to the entire sheet to show that the edge is folded. That is, draw an oblique line, dividing the sheet into two unequal parts. In the entire sheet, draw several long parallel lines in the tiny part that is overturned.

5. Outline the petals, giving them a more irregular edge. On the bottom petal just below the center oval, draw small circles and wavy curves near the center of the flower.

6. Draw a line from the base of the right side of the stem upward to show that the top leaf is attached to the stem.

7. Add a series of small dots surrounding the center of the orchid. For some of the petals, add a line to the silhouette to show that the edge of the petal is slightly curved. Shade a huge part of the flower's core with short parallel lines. Shade the petals from the core, without reaching the middle of the petals. Shade the folds of the petals with thin lines. Shade the edges of the petals along the growth line, making longer strokes in places of wavy lines. Lightly shade the lower parts of the leaves with parallel lines, as well as the trunk. The orchid is ready.

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Drawing a clock is quite easy. Make an image of wrist, wall copies. Why don’t you draw a joyful alarm clock on legs, the one that tries to run away when a still sleepy person tries to turn it off.

Clock face

The dial of wall, table, and wrist watches is created according to a single thesis. The difference is in its size. Draw a circle with another one inside it. In the ring that has formed between them, you will need to put numbers. But that’s later. The further stage of drawing the clock will take place in a small circle. Using a compass or ruler, find its middle. Place a dot at this point. Draw a horizontal line through it. Draw a vertical line perpendicular to it. Its center also passes through the midpoint. It is also crossed by 4 other lines. Place them evenly between the first horizontal and the 2nd vertical. You divided each inner circle into 12 sectors using six segments. The central point divides each of the six lines in half, resulting in a total of 12 segments. These lines are auxiliary. Therefore, do not press hard on the light pencil in order to erase them later. Now it’s time to draw the clock numbers in the previously obtained ring (between the first and 2nd circle). Start with a line that is vertical. The upper part of this segment rests on the number 12. It is from there that you start drawing numbers. The further line is located a little to the right. Its upper part ends just below the unit. Write all the numbers in the same way. They are arranged in a circle, clockwise. Later "1" comes "2", after that "3" and so on. Write the last number “11”, and “12” is already there. You can draw clocks with Arabic or Roman numerals. Erase 12 auxiliary lines. Leave the midpoint. There are 2 hands coming from it - hour and minute. The first one is shorter than the second one. First, draw them in the form of straight segments, and at the ends - along the arrow. You can set any time. In order for both arrows to be visible, it is better not to depict them on the same line.

Transforming the dial into a wall clock, wrist clock, alarm clock

If your task is to depict wrist watch, on both sides of the dial, on the same line with the numbers 3 and 9, draw a bracelet or strap. The 1st consists of several segments. 2nd – holistic. Draw a wall clock in the form of a dial or draw a beautiful round or rectangular frame around it. You can decorate it with patterns. If you want to depict a happy alarm clock, draw a volume button at the top of the dial and two legs at the bottom.

The treble clef not only “opens” a line of notes and determines which sound in the coordinate system specified by it corresponds to one or another note. He is the original symbol of music and is depicted on posters and badges. Consequently, sometimes it needs to be drawn without reference to the stave.

You will need

• – music notebook;
• - pencil;
• - sheet of whatman paper.

Instructions

1. Before drawing a treble clef logo, learn how to write one. It is more comfortable for everyone to do this on a musical staff. It is a line of five lines, and each key on it has a strictly defined location. The treble clef is very similar to the Old French one, they look identical, but their location on the staff is different.

2. Find the second ruler from the bottom and place the pencil slightly lower. From this point, draw an arc between the 2nd and third rulers. Its convex part is directed towards the third line and touches it at one point. Pencil pressure cannot be adjusted yet. In handwritten music notation this is not necessarily the case. Pressure is only necessary in the drawing so that the key looks great.

3. Continue drawing the resulting curl downwards. Move the pencil smoothly towards the first line and draw another arc, the convex part of which “looks” down. This arc touches the first ruler severely below the point where you started the treble clef. Continue the curl to the left and up to the third line. You've got something like the beginning of a spiral.

4. Draw the top part as you would write the number 8. Move the pencil to the right and up to the very top ruler. Draw a loop like a figure eight and draw a line approximately vertically down so that it intersects the spiral and goes under the first ruler. This line can also go at a slight angle to the staff. Under the point where you started drawing, make a curl to the left and place a thick point.

5. It is also possible to write the treble clef in reverse order. Draw a thick point at some distance from the first ruler. From there, move the pencil upward vertically or at a slight angle. Draw a line above the fifth ruler, make a loop and continue drawing the figure eight to the first line. Instead, draw a curl to connect the bottom of the figure eight with the top.

Helpful advice
Draw the treble clef for the emblem exactly as you would write it on a musical staff. Pass on the pressure. To do this, draw with thicker lines the upper part of the curl and loop and the inclined line between them.

Only really sad people don't give each other cards for Christmas. Of course, such a postcard can be purchased in a primitive manner. But it’s much more fun to make it yourself. This will take, perhaps, even less time, taking into account the fact that you won’t have to spend it on the way to the store.

Instructions

1. Take a sheet of thick A4 paper. Fold it in half so that the resulting card base is A5 in size.

2. On the first page of the card cover, draw a Christmas tree before everyone else. Use colored pencils for this. Be careful not to use felt-tip pens: the drawing will turn out motley, similar to a child’s, and if you make the slightest mistake you will have to start all over again, since you won’t be able to correct it with an eraser. In size, the spruce should not occupy the entire area of ​​the cover. There should be some space left around it on each four sides. Draw the tree itself using green and light pencils, and make the stand for it chestnut, imitating wood.

3. Draw colorful balls hanging from the branches of the Christmas tree. Where necessary, make room for their image using the eraser. Also apply the image of “rain” (for this you can use silver gel pen metallic type), garlands.

4. Draw boxes with ribbons under the tree, symbolizing presents. Leave some space for the inscription, which will be located under the image of the Christmas tree.

5. Take a font stencil. Write “Merry Christmas” above the tree, and below it write the four digits of the coming year.

6. Draw smiling children on the sides of the tree.

7. Draw a window behind the spruce through which fireworks can be seen. Draw the window itself in pencil, and the fireworks in color.

8. Draw a line forming the object plane, so that the window is above this line, and the stand and gifts are below it. Fill the space not occupied by any objects below the line with horizontal strokes and above it with vertical strokes.

9. Having opened the card, write on it in beautiful handwriting a congratulation addressed to its recipient. If desired, use poems for this, including personal ones.

10. If you wish, write to back side postcards with your coordinates (telephone, e-mail) - this way it will be more similar to the factory one.

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Autumn paints the leaves of trees with rich colors. If you know some drawing techniques, then you can transfer this beauty to the canvas and admire the creation. You can depict a leaf of maple, oak, cherry and other trees.

You will need

• - paper;
• - pencil;
• – eraser;
• – paints.

Instructions

1. To make the maple leaf look natural, draw it in 4 stages. First, draw a diagonal line on the canvas. Now draw a symmetrical heptagon on it. The diagonal line should pass through its middle, and the vertex should lie on this straight line. Label the vertex angle as 1 and assign numeric values every other corner. Label the second one, located behind the first clockwise, with the number 2; 3rd – 3; fourth – 4… seventh – 7.

3. Find, opposite the vertex of the heptagon, the point of intersection of this figure with the very first diagonal line. The “tail” of the drawn maple leaf will emerge from here. From this point, draw a slightly curved line to corner No. 2, the next one to corner No. 3, then to No. 6 and the fourth line goes to No. 7.

4. The scheme is ready. Now give it the required shape. Edge the maple leaf using a zigzag line. Start drawing it from the place where the “tail” of the leaf comes out, and bring it to corner No. 3. Now draw a zigzag line from it to corner No. 2. In the same way, in a clockwise direction, outline each sheet.

5. Use an eraser to erase all outer construction lines. Draw veins with a black or simple pencil. The brightest ones will be the ones you drew from where the leaf joins the tree to the corners. From each of these lines, draw the veins less clearly.

6. Now take chestnut paint. With its support, draw the outer edge of the leaf. Paint the middle of it with green and yellow.

7. Paint autumn leaf oak is even simpler. Start with the same diagonal straight line. Now outline it on the right and left with a wavy line. The leaf should be oval shaped. If it is early autumn, then paint it with yellow paint. During late, it becomes clear chestnut.

8. Cherry leaves are beautiful in autumn. Draw an oval, pointed on one side. On the other hand, draw a small straight line. This is the part of the leaf by which it is united with the branch while still hanging on it. Take green and yellow paint. Let half of the leaf have one shade, and its second part – another. The combination of yellow and red looks great. Consequently, the leaf may have such a color.

Helpful advice
Do not skimp on the colors of the maple leaf; a whole range of colors will be found here: scarlet, yellow, green, chestnut.

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You can draw, you know it. You can hold a pencil, you can draw lines, but for some reason they don't listen to you. As long as you draw something that doesn't require precision, something chaotic, everything will turn out fine. But every time you want to draw something, the proportions are so distorted that it's scary.

Why does this happen? Is there something wrong with you? It seems like everything is fine with your eyes, and so is your hand...why can’t you draw what you see? It's so easy!

Many things we do every day seem simple only because we do them automatically. But if you tried to explain them to someone who had never done them, you would understand how complex they are. Just try to concentrate on your steps as you walk!

Automaticity is good, it allows you to do certain things without effort, almost like magic. However, to get to this state, you first have to make an effort. When you first learn to drive, there is so much attention required that it is overwhelming. But after you practice, you'll be able to talk and listen to the radio while driving and still be alert enough to spot that pedestrian.

Drawing by professional artists looks easy, but that's only because it was harder for them before. When you force yourself to draw complicated things over and over again and they don't turn out as intended, it's because you're ignoring one simple fact - you have to learn how to draw in order to draw.

This is the second part of a series of lessons about the basics of drawing. In the first part, we learned how to control the instrument so that it would not interfere with your subsequent exercises. If this is still problematic for you, do not start this part without completing the previous one! It is important to do everything at your own pace. Come back to this lesson when you're ready, otherwise you'll find it harder than it needs to be.

Also, if you are new to this series and you are sure that you do not need to train mechanical skills, still read the first part. There you will find a very important introduction and basic training tips.

What to study

There are things you learn consciously that are completely understandable. "Precise" drawing is not one of them. This is one of the "subconscious abilities", which means that it is learned by your conscious mind rather than by you consciously. For example, as a child you learned what perspective is. So now you are not afraid of the constantly moving world and how the dimensions change when you move. But do you really know the rules of perspective?

These “subconscious abilities” are very easy to learn - and very difficult at the same time. They are difficult because you cannot learn them consciously. You can't read a book about them, you can't listen to a lecture, go home, and just know them. You cannot learn them - only your consciousness can.

But your mind learns best through repetition. This is the easy part. You just need practice and more practice until it becomes automatic. This will be a sign that your consciousness has learned this! Easy, isn't it?

Well, of course, if it were that easy, you would already be a master of sketching. Haven't you done this many times? Your mechanical skills have definitely improved, but your proportion problem remains unresolved. This is because you were practicing several exercises at the same time. Even if you succeeded in one of them, it was not noticeable due to other mistakes.

This lesson is exactly about that. I will show you simple exercises, each of which affects various aspects Problems. This way you will definitely see progress, and although these drawings will not be something worthy of admiration, you will be able to apply the acquired skills to your “real” works - and this applies not only to sketching, but to all drawing in general!

Here's what you need to remember while practicing:

• Never forget that you are doing this because you are want to. Nobody forces you, and you have no obligation to draw well.
• If something turns out bad, that's absolutely normal. You are studying! If you expect to produce great drawings every time, why should you study? It's not about the result, but about your expectations about it.
• Each exercise builds on the abilities gained in the previous exercise. Therefore, you may not be able to complete the latter exercises until you have worked hard on the former. Don't put pressure on yourself, take it easy. Being overly ambitious can slow down your progress!
• This will take some time. The exercises do not require much time every day (see the previous part for more details), but you need to practice regularly and continuously.
• There may be times when you feel uncomfortable. This feeling of mental discomfort is a clear sign that you are working on a “conscious muscle” that you have not used for a long time. It may be painful, painful in a strange way, but it means you are learning something new! Learn to enjoy this feeling, and don't use it as an excuse to do something more enjoyable.
• Take a break from drawing serious things for a while. This will prevent you from being disappointed (if you're expecting your drawings to get much better after the first round of exercises), and you'll be in for a pleasant surprise when you're ready.
• Always start your practice with a warm-up, also described in the previous part.
• Use continuous lines only for small shapes. To draw on a larger scale, use the "soft lines" described in the previous part.

1. Measure the distance between points

Let's start slowly. Draw two points at any distance. Then draw a third point, trying to maintain the same distance as between the first two. Repeat this several times in different directions, including diagonally. When doing this exercise, try a different distance each time. The greater the distance, the more difficult the exercise will be.

This exercise:

• will tune your thoughts to work with proportions;
• focused on seeing distance, the basis of proportions;
• very simple in nature - there is only one type of mistake you can make!

2. Copy the length of the lines

Draw a line of any length. Then try drawing it again under the original. After you draw a column of lines, repeat them on the side. These lines don't have to be perfect (mine certainly aren't!), but if you find them too difficult to draw, it means you haven't completed the first stage.

This exercise:

• concerns not only seeing distance, but also copying it;
• “gathers” your hand, eyes and thoughts together;
• expands on the exercises from the first stage regarding control.

3. Measure the distance between lines of equal length

Draw a line of any length, and then draw it again. Repeat the process using the same distance as between the first two. The longer the lines and the distance between them, the more difficult the exercise will be.

This exercise:

• next level of the two previous exercises:
• very intensively warms up your muscles of consciousness, since you are processing two distances; simultaneously. Don't let this discourage you!

4. Draw crosses: squares

We're picking up speed now, so don't worry if you're a little out of breath. The beginning must be difficult!

Draw a line of any length and then cross it in the middle with another line of the same length. “Close” the cross by adding lines. The more square-shaped the drawing is, the better. Repeat with rotated crosses (45 degrees)

This exercise:

• contains an indicator of your progress (how square your squares are);
• expands your mechanical skills by drawing squares;
• introduces you to seeing angles.

5. Draw stars: circles

Draw a line of any length. Cross it with another similar line, but at an angle of 45 degrees. Add another one, rotating it another 45 degrees. Repeat until you have 4 intersecting lines. Cover your star with a circle - the more lines touch it, the better.

This exercise:

• contains an indicator of your progress (whether all the lines of the circle touch);
• very complex: it combines seeing distance, copying distance, seeing angle and copying angle;
• Extends your mechanical skills by drawing circles.

6. Copy squares and circles

Draw a circle, then draw a similar sized square underneath it. Copy the circle and square, trying to achieve the same dimensions. Remember: if this is too difficult, draw the shapes "softly", using repeating and overlapping lines.

This exercise:

• expands your mechanical skills by drawing circles and squares;
• introduces you to the concept of "overall sizing" (combining different lengths to create a figure);
• trains your "complex precision" - the first step to copying more complex shapes.

7. Scale squares and circles

Draw a circle and then draw smaller copies of it. Do the same with the squares.

This exercise:

• Expands your mechanical skills by drawing circles and squares
• this is the first step to scaling the source image

8. Copy combined shapes

Time to combine all the skills you're learning into one complex exercise, a kind of simulation of what you'll do when sketching.

Draw a combination of all shapes: squares, circles, rectangles, lines. Then copy the resulting shape as accurately as possible.

This exercise:

• This is an imitation of copying from a 1 to 1 source.

9. Copy and Scale Combination Shapes

Again, draw a combination of several shapes. This time, don't copy it one by one; instead, reduce all its components proportionally.

This exercise:

• combines all the skills you have trained previously;
• This is an imitation of scaled drawing - the very case when it is easiest to lose proportions.

10. Copy and rotate combined shapes

Draw a combination of shapes. Copy all the components, this time rotating them by the same angle. Be very, very careful!

This exercise:

• combines all the skills you have trained previously;
• trains you to see proportions even in a distorted source.
• this is a good final exercise: when all the previous ones become boring, this will remain stimulating.

Good job!

This was the second stage. Be sure to stick with it - these exercises are not that simple, and the more difficult they are for you, the more important it is to work on them. Give yourself as much time as you need, and even more!

How do you know when to stop? When these exercises become boring, but boring not in the uninteresting sense, but rather boring in the I-can-do-this-with-my-eyes-closed sense.

The next step after mastering them is to copy from the source. However, please do not forget that this will not become completely trivial for you. It depends on how much effort you put into working on these exercises and what you learned from it.

So, this was a lesson about copying from the source. Next time we'll look at drawing from imagination!

You can print this image as a reminder of all the exercises

PEOPLE

How to draw a HEAD

Drawing a head is relatively easy with practice. Below you will see two sketches... the one on the left is done traditionally, and the one on the right is done digitally. Before you start drawing, it would be nice to learn how to make such sketches.
When you start drawing, make sure you use proportions and perspective correctly. In the sketch on the right you can see that the head can be drawn even using a circle. If you draw a line down the middle of the head, it will be much easier to make both halves of the head the same.

Here's how I create the head sketch:
1. First I draw a circle. Well, yes, not the most perfect circle... more like a potato, but this is a sketch, so we’ll skip this point.
2. Then I draw a midline line that goes down the center of the head. From it we will understand where the character will look (left or right).
3. After this, I mark the places where the nose, mouth, eyes and chin will be located. My character is looking at the bottom left corner, so the perspective is appropriate.

4. After that I start drawing the mouth. I always start with him... I don't know why. But you can start with whatever you want.
5. Next I draw the nose. As a reminder, always keep perspective.
6. Now let's move on to the chin. Mark the proportions as in the picture.

7. Then I draw the eyes. If it makes it easier for you, you can imagine your eyes as a ball. You can draw a circle, but everything else (like eyelashes) is drawn as an ellipse.
8. At this stage you can see that I have shaped the eyebrows and ears. The ears are located between the line of the nose and the line of the end of the eyebrows.
9. Lastly, I style my hair. Remember, it should feel like the hair is growing on this very head (it should surround the head).

How to color a HEAD

After sketching, it's time to start coloring! Make sure to remember to choose your light source. As you can see in my example, the light source is located in the upper left corner. This means that the left side of the character will be the lightest, and the right side will be the darkest.

In the picture on the left, I quickly painted in shadows and highlights using a hard round brush (with Opacity about 60%). Then I take a soft round brush with an Opacity of about 30-40% and soften the resulting image.

...and HAIR

As you can see in the picture on the left, I always define the overall shape of the hairstyle with one base color. I don't go too light or too dark... I go somewhere in between because I'll be layering shadows and highlights on top of that base later on. On the hair I work with a hard round brush in Pen pressure mode with Opacity 90-100%.

As already mentioned, the lines of the face were softened with a soft round brush. Here I did without outline drawing, so this option is softer/shaded, more realistic.

Now I start adding highlights to the hair. In the picture on the left you can see how I chaotically sketched out the highlights. After that I do more detailed work. I take a smaller brush with a lower Opacity (70-80%). Most of the time I use a soft round brush with a Pen pressure setting, but change the Flow to 50% and the Hardness of the brush to 90%.

We work on the character's face a little more with a hard round brush. Bright highlights, like those on the lips, were created with more high level Opacity 80-100%. If I want to highlight fine details even more, I use the Sharpen tool.

Once I've finished working on the highlights and highlights, I move on to the shadows. I recommend using layers... especially when working with hair. When I want to make my hair more realistic, I use the Elliptical marquee tool (K key on keyboard). To do this, you need to select only the layer with the hair... that's why you need to separate the details into layers.

Because I want to achieve a smooth gradient transition between the selected parts, I need to increase the degree of Blur (Feather) tool (see figure below). I create very large drawings (the one you see below is 11000x7000 pixels), so for Feather I need to select big number pixels.

Here I have selected the shadow area (see picture on the right); which means that this area will be even darker. I open Levels (Ctrl+L) and change the indicators of Output levels (see figure below) by moving the right slider.

We repeat the same for the light spots. Select the light areas and in Levels move the left slider.

When I want to paint more detailed hairs around the head (picture on the left), I simply remove some areas and paint new hair on top of them using a smaller dotted brush.

That's basically all I wanted to tell you about hair. In this example (pic. below), I used texture brushes when working with the skin, but the base is a regular round hard brush with Pen pressure settings (see small picture on the left).

How to draw FABRIC

This drawing was drawn in Paint Tool SAI, but a similar effect can be equally achieved in Photoshop. As you have already noticed, I paint everything with a simple color - I choose a medium tone, so that I can then apply shadows and highlights on top of it. I roughly mark the areas where they will be located (don't forget to choose a position for the light source!).

The jacket will have wrinkles around your bent elbow.

When creating a rough sketch, you can work with a small brush. Set the Opacity to low (about 40-60%) and apply highlights and shadows. If you want to create an even more dimensional look, you can choose a soft round brush with Pen pressure (the brush should be large... look at the image below, if I wanted to soften the lines of the character's hand, I would choose a brush the size of the red circle ). Also, choose a very low Opacity level, around 20-30%. After this, you can once again go through the light spots and shadows, then the object will take on more “rounded” shapes. This effect can also be achieved using the Gradient tool.

THE BACKGROUND

When creating backgrounds for my characters or any other fan art, I try to study the character's personality as much as possible. I try to convey the story of life through the background, and not just a picture.
I also try to find an interesting compositional solution. For the picture on the left, I chose a diagonal composition. When creating the drawing on the right, I was guided by a central and pyramidal composition. With the help of such techniques, your drawings can become even more interesting. Among other things, I try to use the same colors in the background that were applied to the main character. This will create a feeling of the character’s real presence in certain conditions.

How to draw a TREE

To create the tree, use only a hard round brush, because... wood does not have soft gradients. First, paint the entire tree with regular paint. gray, then add highlights and shadows - for this we select a larger brush. Note that I haven't even started drawing the bark yet (see picture on the left). Once you're done with the shading (while keeping in mind the position of the light source), you can start drawing the bark. I take a small brush with a high Opacity level - 80-100%. On at this stage I draw simple black lines (in the picture on the right, at the very base of the tree, these black stripes are visible).

Don't forget that the bark is drawn in one direction. I drew it while moving around the tree trunk. As you can see, the direction is the same everywhere - diagonally. In the picture on the left everything is colored with a base color, but in the picture on the right you can already see that only black lines were added. I created a separate layer for them so that in case of any mistake, I would not have to draw the entire tree again.
If I need to add highlights and highlights, I simply choose a brighter color (or even white) and apply the same lines to it (as I did with black).