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The Liquify Tool & Sketching

Lesson 35 from: Painting With Adobe Photoshop

Jack Davis

The Liquify Tool & Sketching

Lesson 35 from: Painting With Adobe Photoshop

Jack Davis

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Lesson Info

35. The Liquify Tool & Sketching


Class Trailer

Day 1




Why Do Expressive Painting


Adobe Bridge Setup & Image Optimizing


Jack's Painting Presets


Enhancing Source Images


Photo Hand Tinting & Workflow Options


Working with Brushes & Palettes - Part 1


Lesson Info

The Liquify Tool & Sketching

Another brooke krystal shot again she does people I don't do people uh you can tell this guy's really fat right now he's not really fat he just has bad posture at the moment and that's just it's awkward it's distracting if you were to do a sketch or a drawing or something like this ridiculously good looking couple that should be arrested for excessive good looks that's a little distracting I don't know if it is to you but it's destroying two may it's just it's a posture issue has nothing to do with the fact of I am needing to lose weight so we're going to do is we're not going to paint and try and smudge in there it's much simpler just to liquefy and again most people don't know the correct way to liquefy especially the last versions last couple versions of photo shop have purposely gone in there and made it so the default setting of liquefy is also bad so let's go in there and liquefy and show you that as a quick at it edit and photoshopped you can now use liquefy a smart objects anot...

her reason to update to the new photo shop is that now liquefy even though you're basically bending individual pixels is now smart enough to use it as a smart filter in other words, we have the raw file still here I can come up here and go filter liquefy and now even that filter is something I can change next week or next year or fine tune it or whatever the thing you need to remember about the liquefied tool and this is a free being on our painting class but again it's one of those things that you're gonna want to do it could also be that you want to change the pedal on a flower you're an artist you're going that's so great but that one leaf that's coming off is just totally annoying me if I could just move that leaf in liquid fire puppet warp or some of the other tools and photoshopped are incredibly useful in the area of optimize your image for a painting in this case we're talking specifically about liquefying we're gonna come up here and the default setting of liquefy is this and the problem with this if you just take the liquefied tool and I come up here and I want to fix it ok? The problem is I'm breaking his arm so you may be tempted to come up here and undo that and you go oh okay, well, I know how to fix that I'm just going to use a small little brush so they don't do it and now you're going to come up here and you're going to do this and you're going to do a little serrated edge, you know, for a week and a half that's also not going to look pretty, I could possibly get it to look good enough for painting, but that's not how you do it and it's certainly how you would never do it for an actual retouching job for something like a portrait or figure job. So but that's, what your step you're you're stuck with either a small brush targeted hacking away the offending area or a big brush that's goingto affect more than you want, unless you click on the advanced mode inside of liquefy, which gives you back something that was there in the olden days, which is this thing right here called the freeze mask tool the freeze mask tool without the freeze mass tool you shouldn't be using liquefy it is the way how to control liquefy and it's essential, and basically, what you're going to do is you're going to start off with whatever brush size you want, crushed pressure and density at one hundred percent, which is what it should be that's nice that's actually knew to see, see they went in there and said, when you freeze mask, it should be a one hundred percent, actually, as you change tools, the settings are sticky for that tool really great that's one of the is a huge benefit photoshopped, they finally changed that. And what you do is since we're using the analogy of liquid, the freeze mass tool is a mask that freezes a portion of the image, so you cannot change it no matter what you do. So if I don't want to change this arm, that is something that I'm going to tell light room, you do not have permission to change that, no matter what let's see if there's something else in here? Yeah, they're just again normally and, you know, take gels up or, you know, but you just want to slap him and just move on, okay? We could we could we could add muscles, but again, what that's the point? So we'll just do this one right here for quick. But now that that's frozen, I can't go back either to what's known as they forward warp tool. I actually like using the was known as the push left tool it can push left or right, and the thing to remember let's get rid of our green here is when you use the brush in liquefy you want to use the center of the brush to do your work, not the edge you want to take that? Because this is going to do most of the work, and then as it moves toward the edge, you'll do less work, so the subtle transition of what's been warped to non warped and therefore the least distortion. I'm going to do a significant distortion I'm going to move that stomach in, you know, three inches, the only way that's going to look anywhere believable, especially since I'm gonna have to take some of the arm with it is for it to be subtle. So a big brush using the center of the brush and I'm even going to take this brush pressure down to twenty five, so I'm going to make it much more subtle, and what I'm going to do here is, um as it default when you go down with this brush, this is a push left tool, not the ford warp tool as you push it down, it wants to push left this case, even though it's pushed left tool it's actually going to do that, which we don't want that's the as we call in hawaii, the whole pie tool, the pregnancy to wei don't want to do that that's actually looks like we might be able to get away with fifty, so I don't want to go down and push it that way. I wanna push up and move it in. The thing is, I've told you, I don't like pushing up away from me that's, not a controlled way of doing it. So would be neat if there's a way to reverse the effect of the brush in other words, rather than pushing down going that way pushing down goes that way and that way for those of you who aren't watching the video, I'm pushing my thumb going the opposite way that way um and there is a brush, a key modifier and photoshopped that does this all the time it's the option key where they all came the pc it switches ah, a number of tools in photo shop from dodging to burning and back. So in this case, if I hold down the option key, I can do this and I'm done so the option key instead of pushing right pushes left and I the reason why I'm using this tool, I could use the regular forward work tool at a big size, but and then I'm doing this, which is actually working fine, but that happens to be that this is the one area I'm working on. If I was working on, you know, some person sty or something like that or their arm to do one long stroke, I would have to go like this and push it in um I have to go one, two, three that's what I do, I can't dragged down that's the benefit of this tool is aiken drag along a line and move everything in that the same time brother than do it one at a time so that's why I like this school and I think that it's a nice thing to know in your bat utility belt okay so that is liquefy the main thing to remember about the liquefied tool is in gotta freeze you gotta freeze the stuff you don't want change so I don't change that outline you use the biggest brushes you can use the center of the brush to do it and you're going to take your brush pressure down you notice that I was at fifty I took it down to twenty five that was pretty extreme it's cool I did in one fell swoop but at the lower pressure you can actually go on a couple times you hit okay and there is our fix and it's non destructive because it's a smart filter so I can come back and change it later okay, very very cool so those two things they're the background a racer a lot of people don't know they certainly don't know that that default setting makes it useless now you know it's useful great for swapping out backgrounds for doing those sorts of painting things liquefy all sorts of things you can use it for there's no reason not to shape your image the way you want it before you do a painting or a drawing okay especially since we've talked about the reason why you're doing a painting or drawing is your image may be a little bit compromise it's not the greatest image to begin with and so you're doing the painting or drawing after this you may go when I was going to do a drawing of it because it looked funky and now it looks great so I'm no longer going to do a painting fine with me let's actually while we're here do a sketch of this one since we're doing well, we're talking about that and that will bring us into this idea of combining something like a watercolor effect and a sketch effect but I just wanted to run that sketch action that we showcase the other day because it could be fun as a alternative tio just a traditional photograph that's under actions it's all in our davis painting actions sampler we're going to come up here and do sketch will just use teo the regular sketch and I'm going to hit play it's gonna explain it to you it's goingto ask you to come up this area and gray is what's going to be shaded so if you take it down at a low setting it's going to give you kind of like a pencil sketch just one single pencil sketch without shading this one if you remember if you go way back two days ago when we started this class I showed you a what a color painting of ah bay in tahiti, and I mentioned that it looked like it was an ink drawing that I then hand tinted. Well, this is what we're talking about. Now you can take a sketch, you're creating that pencil sketch and then come back in and do your patterns, they have water color on top of it, and you get it as if you had done a sketch and then colored it with watercolor, something that's, very nice technique, so I could leave it at this one, and again, the action has built into it the ability to increase the contrast. So let's, go ahead. We've done some shading before, so I'm gonna go ahead and leave it like this at a low setting. This is two point five pixels, and, uh, that's doing a little bit more shading that I'd wanted to on that, and also I accidentally hit with my brush here, so that is there, and this is what it did remember the magic of this filter, I'm going to take that even smaller down, or you know what what's going on? The the halo effect is at that small radius, but I've got my sketch at a higher radius let's actually do this let's back up our history prior to this and run I that's why I made multiple actions there's this sketch one of the top and then their sketch with highlight and with highlight to down at the bottom of the actions that I'm giving you and let's go on this one because I believe this one is going to give me not on ly the same setting which we're going to take way down and now they say that this actually this I meant to do this one this actually adds the watercolor paper on it so now you can do what we did with that the sketch we did of the young lady where I just did a highlight she was on a colored ground so this is where we could put in a colored paper but let me show you because we haven't created an action yet and I wanted to both create an action and then customize an axe for you these were all the steps needed to do this little sketch effect so let's actually I want to go back to this more simple one that doesn't add the paper and everything else to it so we'll go back to the history step and we're gonna come up here we'll do the even the gentleman before he did his actually do our liquefy and we can ask it to load last mesh oh but they're loading the last mess fixed that but it didn't automatically bring back in the freeze mask isn't that interesting that would be something for me to work on next time, so back to actions we've got our first action here up here that we're talking about our first sketch and let's, just look at how actions are done because that was one of the things I've said if you do something once I figure out how to never have to do it again and actions and photo shop or how you're going to create these recipes, um, that could be done no other way. The only thing you need to know here I've got little things those little love notes that explain in action. Those are what are known as stops and you can insert a stop and put in a note, we're going to come down here. This is creating new layers and it's barging, visible and it's, doing all sorts of cool and groovy stuff and were coming down here and gazi and blurs with its giving us our sketch. But coming down, continuing on and we are going, teo blur, d set said currently, or hide new adjustment, sprayed strokes, the sprayed strokes is what's going in and giving us our shading. In other words, you're gonna look down and look for the name of a filter gazi and blur, you'll notice is we are up here, the gazi and blur there's something going over here the check marks are portions of the action that are going to play you could actually turn off is an example. Once you've you've read my love notes for long enough, you can just turn that off it's no longer going to be part of the action so you can turn off any one of these steps. Hopefully you know what you're doing to turn that off coming up here right next to where it says gazi and blur in this column. This has got a little teeny icon on it, and that is saying any dialogue box associated with this, please leave up and wait for a person to give his or her opinion on that. In other words, you'll notice most actions run and they don't stop. They just run all the way through it. They don't care what you think mind purposely stopped when you can come up here and change a setting that's going to be pertinent to the resolution or size, or something else associated with the file. So I did that for gazi and blur on this one. I did not do it for the sprayed strokes. This is another filter part of that filter gallery, but if I simply turned on that icon here, I've now gone too, eh? Generic action that is goingto when you run it and I run it's going to be very similar to now one that is going to be customizable and this is going to allow me toe change how much shading is going on? So I wanted to show that to you in terms of actions, because not only am I giving you a ton of actions, but when you start creating your own actions that's going to make the difference between you being ableto do one action that's useful on low res images and high res images and everything else if you wrote an action as a default it will not bring up the dialog box, it will run it and you won't be able to customize it as you run it. So now I've come up here, I'm going to hit play there's my, um gauzy and blur that first section of it and now when it comes up in place, I'm going to hit ok it's now going to stop when it gets to this point these air the spread strokes that it's adding the shading to it and that then that stroke length and the radio specifically I'm going to come up here and do that radius much it's less and again the length isn't going to be appropriate because that's only within that so I'm going to take that down and hit okay and now I've got much more of a pencil sketch drawing without that shading on it if I wanted to do that exact same thing looking at our layers we've also got a little colored version of it and again I've got my brightness and contrast so if I were to run that action the same way but changed my settings so I'll goto actions exact same action run it we'll leave it at that setting we'll also leave it at the default the original action was written with ease settings here I can change it but this is the default setting and this is now going to bring up this sketch version so now you can choose what um sort of flavour you want put these into a folder so each one of these is a different version of that so here is the original here is that sketched and here is our little kind of pencil sketch version of it so really depends upon what you want to do that's how you can customize an action you're going to go through and you can actually turn on or off different steps or probably more importantly you're simply going to go in there and turn on that dialogue box so you can change that parameter if you need to for your own purposes okay makes sense okay good okay but and this one I hadn't planned on doing the watercolor though there is our default and that gives you an idea of that sketching of that one uh if we go and do another one like this gentlemen here and goto actions and we're going to use that same sketch we did this before with the close up of the woman's portrait come up here and let's actually what rather than use that one let's go ahead and use this sketch with highlights this the one that is going to add our little paper effects to it so we're getting kind of a high key and this is where I could come up and then do our little chalker charcoal this is that pattern stamp we use the pattern stamp to do little charcot charcoal charcoal you remember on the woman I just a little bit on to the nose, but that's certainly again is giving us our, um, pencil sketch you'll notice since I've got so much contrast in here, I really didn't need to go overboard with this one and create such a high key image if I know that I'm going to use this effect, it automatically does it to any kind of image this one you know, almost had too much contrast to it to begin with, so if you know you're going to go to that probably not necessary to get too carried away again this image taking a pit light workshops were on that same action on it and here I can see that we've got that kind of sketchy situation going on here if we wanted to what was something that we did when we wanted to use an effect that we end up with in this case the oil paint filter we had a we wanted the strokes to be long for most of the fur for let's say django but the eyes we wanted that to be tighter we wanted more detail, we ran the effect on one and then we duplicated it and we change the parameters to make it tighter in this situation let's say that we've got this sketches are all going over to this right hand side if you were going to do a real pencil sketch, you probably wouldn't do the entire drawing going one way and this is the standard way to do it you'd probably do more of a cross hatch where you're coming up here and you're using different angles it's kind of a dead giveaway that it's a computer pencil sketch that it's all going exactly the same way most of the same lane. So what can we do for something like this again to use that same concept? Well, I'm going to take all these elements that make up this particular sketch effects matter of fact we can uh well come up here and put all of these in here and I like putting folders we make folders so that is everything associated with that particular flavor of it now I'm going to come up here and I'm gonna go to that action the same one we were just playing with and I'm going to come down here again toward the bottom that um sprayed strokes right find it sprayed strokes and I'm gonna make sure that that button is turned on and I'm going to do it not to change the length of the strokes we did in a second but I'm going to use it and I'm gonna run right now it's coming up and I'm not going to go right dag no I'm gonna go left diagonal and that means now I've got a whole nother version of this file going the opposite way I've got two of these files here right? So this is the one I've got to it looks like I didn't put the this is why I used folders so it looks like I've got did some that's interesting that action you can see it took some of that action and put it into the folder that's really interesting because it put it inside of the folder so let's go ahead that's interesting thing okay so highlight high's pattern phil that's just really I should figure that out but I won't do it right now with that the what's going on here is our effect here's the kind of sketch fact again it is using the sprayed strokes on an inverted version of the file we did this the first day for those of you who weren't here the first day I explained this technique that if you invert the color okay from on this file and used the colored dodge blend mode the result is this line sketch that's the on ly secret going on here it's a duplicated copy of it using those sprayed strokes a blurred sprayed strokes colored dodge is giving us this sketch if ic de saturate turns it into a black and white I do a little brightness and contrast at a little umph to it the pattern is our pencil and highlights is just another little enhancing effect but the effect really are these right here our brightness and contrast and in this case we have a secondary version of it which is this sketch based which is going the opposite direction oh that's probably. What happened is that my original okay wasn't duplicated so now we have that version and that's going this way and if I turn these off sorry about that. That was I was trying to get creative with our groups here so this one is going this way but she's all into the group at the bottom you got all this is a great technique, jack I'm gonna use this all the time so these strokes are going to the right and I tried I tried to cheat and not put them use my my base image of secondary time so I should have duplicated that let's do this let's say we're just starting over here and you're gonna edit this out for the people in the back we'll edit this out so the people at home will never to see this we're gonna come up here actions run it good go find yes, thank you very much. Perfect exactly what I wanted. I want another version of this right here, okay where the strokes are going the opposite direction so I'm going to take all of these and put them into a folder I'll take that original photograph and I'm going to duplicate that and put that outside of that group that's the one thing that I hadn't done before I hadn't started with a duplicate of my original I just want the other one's on top of it now I'm going to go that action hit play again and this time when that secondary dialog box comes up I'm going to switch it overto left. So now when I come up here you dirty dog you he's it's actually putting those back in here I have to figure that out so much for that it could be that that the sketch what's why did sketches both sketch one and sketch too and sketch with highlights the um I also mentioned that when you have reading actions, you end up being basically a code programmer and the beta testing of making it work on every single possible image in every single permutation including somebody who's duplicating the files in here is confusing it and in this case it's actually putting them even though I am putting it into a secondary group that is just frustrating I apologize for that there's nothing worse then um having a can demo not work of course I know the way around that because I can just hardwire this whole thing toe work so one last time just because it is just so we've got our sketch will do our initial sketch here, right? Diagonal thank you very much, but I'm going to do here because I am really not going to mess with this I'm going to duplicate the original so it is actually a separate document so I'm not gonna mess with you again you can't mess with me I'm gonna come up here to the exact same one left diagonal. Now I've got the two versions of this file one going to the left side and one going to the right so here we've got going from one side to another side I can put these both in a folder excuse me for doing that and do the same thing here and then what you khun d'oh as you can drag one on top of the other and this is what I was going to try and get to that you have two different looks going on here you've got very different looks I like that left that's actually giving it a much more organic look to it but there's nothing stopping you and we've mentioned this also before that if you come up you can add a mask to an entire set terms of everything that's going on here and you can hide everything in that folder so if I wanted to when I got into the background to be this line work but I wanted the face to be this line work there's nothing stopping me from taking a good old fashioned paintbrush filled with black and now as I'm doing and I can even do it lightly words doing a little bit of pressure I'm now changing the line direction and even the actual kind of basic way it's drawing by simply doing that and I can also kind of actually go through just kind of randomly as if at some points in the drawing I was drawing from the left and some I was drawing from the right and what I'm doing is I'm getting a much more organic feel to the drawing by having not a consistent digital everything is coming over from the right hand side I'm now combining different kind of drawing techniques in the same one and in terms of that action that work around which I hate the thought of you guys having teo do that kind of work around, but I was basically running it on two copies of the file and then bringing them back together that's a very interesting bug the reason why that's probably happening is how most actions work, especially when you have all these multiple layers thie action calls to I'm going to make a layer now name it, you know, patterns dam and if I'm running the action on the exact same document and I've already named a layer pattern stamp, the action says after it's done here, go back to this layer pattern stamp and do x well it's doing it and now it's finding two versions called pattern stamp because I'm running the exact same action on the exact same document and it's going do it. I'm doing exactly like you're telling me ain't my fault you so this would be a situation where since the actual was not designed to do multiple layers on that same one I would have, I have to design an action that is meant to do two separate copies of it and so the first time I do it it would be patterned stamp or whatever second time would be better stamp to in that way you can make those calls so that's me apologising for that situation yeah, we have a question from duke in park city, he says. Can you get the sketch line to follow the contours via some contortion of the oil paint filter or some other direction sensitive tool? No, you can't, um, the one thing you can do, and we did this that the first day and, um, you really can there two filters and photoshopped that lets you change, or ben pixels based upon grayscale information and that's the glass filter in the displaced filter. So there is ways how you can bend something based upon the photograph. So this is exactly what the person's asking is. How could I do something and then bended around the shapes of the photograph so theoretically, you could create a a pattern of random brush strokes and run the displaced filter on it, and those brush strokes are going to do slight variations when they hit an edge, and that kind of helps, ah, uh uh, drawing technique, but it's really not again. How an artist would do it, they wouldn't. They would, they would do it differently. It doesn't quite do it. Um what you can do and this is I'll just show you in another brush and we I think I showed it really quickly if I come up here and, um make a pattern out of this and I think I've already gone in and I've made a pattern out of this photograph because we're going to cover this in a second what you can do is that I'm going to come up here and we're going to, um use it if we've got this up here I don't have on here we'll just do it from scratch since we haven't been doing a lot of that will come up here and we'll take one of our brushes we can use as a starting point something like our chalk and I'm gonna come up here and for that brush tip what I'm gonna do is I'm going to say what you please use one of these brushes that I have done again we did this that first day a cross hatch brush and the cross hatch brush comes up here and has these lines zoom up on it and I basically drew realigns on a real piece of paper that's the pixel dimensions of these lines you know, fairly close together crosshatched technique is usually these cross matches these little chisel marks and then you use them back and forth to do shading so that's the brush tip we've got that there and the spacing I mentioned before is how you can see the individual footprints, so now you can see the individual brush tips separated because I'm telling them I want exaggerated spacing. I'm not trying to do one smooth one actually one it's a feature to have these a separate brush strokes I'm going to come up here in terms of my shape dynamics and I'm going to change my angle jitter we did color jitter awhile ago and now I'm gonna come up here and I'm going to do an angle chitter so now I'm doing just what I would do in the real life is I would cross here and I would do this do not do this do this, I would do this for shading and then I can come back to the brush tip and I can make my spacing, so now they're kind of overlapping, so now I'm creating a brush that is doing exactly what I would want with a cross hatch it's actually coming up here and overlapping these brush strokes and I come up here like that in terms of the shape dynamics the size is based upon my pen pressure. Now in this case, I may want none in other words, I'm not goingto I would want to choose when I'm going to change my crosshatch size, I wouldn't do it based upon pressure by turning off that shape dynamics in terms of the size the control is not associated with the pen pressure it's based upon just nothing it's goingto keep a consistent size I can change the size of the brush just by using my square bracket case and you also already know that I like that so that being said I can come up here and I'll create a little white piece of paper just well use that for our paper to streamline the process I've got my pattern stamp selected I've created custom brush we know that pattern stamp can use a photograph which I've already created the pattern for this one and I can use the impressionist setting which means it's going to use the color and tone but not necessarily the detail of the image so when I draw with this custom brush I'm going to get the color of the image matter of fact let's take that opacity out because we don't even need to see original it is drawing a cross hatch version of my image in full color okay so this is this concept it's not following the contours I can follow the contours exactly like I one in terms of the image till I can see it and I can change the size of the brush so I get more detail as I get into what would be the face of the mannequin I can come over here and, uh, change the size of the brush and get more detail as we go into the mannequin and pull in more detail the one thing with cross hatch you would have to be an absolute maniac to switch pens and change colors every single time that you did something like this so this is not how you would, you know, traditionally do a cross hatch, so you can probably guess what I'm going to do as soon as I'm done here, but it's kind of fun because something you wouldn't normally do, you'd have to let it sit for you to have twenty different pans of different colors and every time that you switched, you know, the pen you switch to a different pen that would be, you know, just kind of psychotic, so, um, we'll just use that as a starting point, you could come up here then and do that, hugh saturation and then turn it in to what would be a black and white drawing continued to fine tune it. So, um, that's the sort of thing where you can follow the contours and create a pen that has some dynamic aspect to it and use it, and it feels more like it's associated with the image, but that's actually because it's picking up the tone from the image, not the shape direction um, I had mentioned earlier that there are ways how to do etching that was a question is there wade how to do a true steel point etching where you have these lines that follow your image and um basically what you have to dio and let's see if I have I don't think I have the image I'm open here I was thinking that I had it open see if I've got it in light room here um what you have to do it's a very, very elaborate process it's worth it it's this right here this is what you would like to do you'd like to have lines that go thicker and thinner and fade out and do all this and even be able to do it in color would be nice if you could, you know, there's your black and white that that is in this case it's more of a pencil or woodcut situation, but the only way to do that is I actually did and actually a friend of mine did it because I had to pay him because I didn't have the time tommy yune, world renowned comic illustrator and actually had to draw all the lines there's no shading in there they're all just lines it's just if we look at the original that's all middle tone grey and then you basically tell photo shop, would you use this great drawing as one giant, half tone dot, and it uses the tonality of the original and this line it's, because it's basically custom half tone screen. And would you please use this custom, half tone screen, but used the grayscale information to make this the fact that you're needing to draw it? Even though you don't have to worry about shading, you do have to draw every line, and it does follow the contours. This is where some of the third party filters may come in handy, that fake enough irregularity to the curve lines that that it does etching. And I wish I could tell you, it's funny. You know, with all the little magic tricks we've been doing, you'd think that I'd go. Of course, you'd know that it's, just the oxidative, phosphor relation filter that you didn't know about over here. So I love the day asking about it, but there are some things that just aren't there.

Class Materials

bonus material with purchase

Painting Files

Ratings and Reviews


Okay, I'll be first. Jack has an easy, approachable way of teaching. It was more like being in the room with him, watching over his shoulder as he created something utterly new and exciting. Even when he worked on images he had done many times, I never sensed boredom or a lack of enthusiasm. He was patient with questions and answered them completely. I hope Jack enjoyed this way of teaching as much as the world enjoyed watching. Maybe he'll find more to share. I know I'll sign up for his next one. This workshop inspired me to start creating art again. I'm slowly losing my sight and sad to say, I was starting to let it get to me. As I watched Jack, I tried just a few things and realized that I can do this. Digital art is much easier for me than pencil and paper because of the technology. I miss the pencil and paper drawing, of course, but this is so much FUN! The techniques that Jack shared are wonderful and the results rockin' ... or as Jack says, bitchin'. Thanks to Jack and creativeLIVE I'm back in my head in a good way.


Okay, I'll be first. Jack has an easy, approachable way of teaching. It was more like being in the room with him, watching over his shoulder as he created something utterly new and exciting. Even when he worked on images he had done many times, I never sensed boredom or a lack of enthusiasm. He was patient with questions and answered them completely. I hope Jack enjoyed this way of teaching as much as the world enjoyed watching. Maybe he'll find more to share. I know I'll sign up for his next one. This workshop inspired me to start creating art again. I'm slowly losing my sight and sad to say, I was starting to let it get to me. As I watched Jack, I tried just a few things and realized that I can do this. Digital art is much easier for me than pencil and paper because of the technology. I miss the pencil and paper drawing, of course, but this is so much FUN! The techniques that Jack shared are wonderful and the results rockin' ... or as Jack says, bitchin'. Thanks to Jack and creativeLIVE I'm back in my head in a good way.

a Creativelive Student

Thank you Jack Davis. Having tried to paint, both in the real and digital worlds, this is the first time I have seen a comprehensive demonstration of the techniques and philosophy for the artist. This course is valuable for any aspiring artist, digital or otherwise. By the way thank you CreativeLIVE for the long form training space you offer both the teachers and students. Jack is inspirational, talented and sometimes funny. Watching him paint in real time is by far the most impressive sight but the information about why is more valuable. Overall this course will give you ideas, knowledge and skills (if you practice). I highly recommend this course for anyone that has tried to paint in the past and was underwhelmed by the results.

Student Work