How to draw a funny furry creature in Photoshop. How to quickly draw realistic fur using Photoshop

Do you like Photoshop drawings that look realistic? If you answered yes, then this lesson is for you. Today we will learn how to draw realistic fur. Step by step we will draw a wolf using a photo from deviantART. Let's get started.

The end result will look like this:

Used materials:

Step 1

First of all you need to find a photo good quality- sharp and with good resolution The photo will do just fine.

Open the photo in Photoshop and save it as a new file. Select the Lasso Tool (L). Make sure that the “Add to selection” option is selected. And highlight the entire shape of the wolf's body. It's good to highlight the desired area in small sections, so you won't lose all your work if something goes wrong.

This is what our final selection looks like:

Create a new layer and use Paint tool Bucket (G) to fill the selection. We use the main color of the wolf's fur - gray. Let's rename this layer “Base”.

Let's set the Opacity of this layer to 25% so that you can see what is behind this layer. Create a new layer and paint a few basic lines of the shape with a brush.

Let's return the opacity of the "Base" layer to 100%. From now on, the original image should only be there to peek at the details of our future drawing, otherwise you will not learn anything.

Use the Crop Tool -C to make the sketched canvas larger and place the original image next to it.

Step 2

Create a new layer between the “Base” layer and the sketch. Open the menu and select “Create Clipping Mask”. Everything you draw on this layer will remain within the “Base” layer. Select the Brush tool and open the options for this tool, as shown in the image. Let's lower the opacity of the sketch so that it doesn't bother us. Then apply the first color from the palette to the Clipping Mask layer. Colors can be taken from the original image using the Color Picker (I) to create a realistic effect. These colors are needed to create shadows and highlights in an image.

Step 3

Let's change the resolution, as shown in the image below, to 300 (if your computer is good enough, you can try to set it to more).

Step 4

Now let's look at the original image to see how the fur grows on the wolf.

Paint some guide fibers on the Clipping Mask layer.

If you want to paint short hairs, set the diffuseness in the brush settings.

Here are the places for short hairs:

Step 5

The fur of real animals can "break" in certain places. It is very important to emphasize this. Choose more dark color and mark these "cracks" where they are needed.

Cover the “cracks” with small bristles.

Now define more bright places on the image.

Step 6

Time to add details to the wolf's face. Draw the nose and eyes with a dark color.

Add some light using a hard brush. Blue color. The mode is “Linear Light”, which will make your eyes shine. The nose needs to be slightly moistened.

Step 7

We draw the claws in black. Don't make them too spicy.

Step 8

Return to the “Base” layer. We take the Smudge tool and make the fibers more natural and intertwined with each other.

Step 9

Merge the “Base” layer with all the “Clipping Mask” layers. Then duplicate the layer (Ctrl + J) and convert it again to “Clipping Mask”. You will be able to edit the entire picture without going beyond the edges of the wolf's body.

We give the wool a natural look. Let's go to the "Quick Mask" mode. Select a soft brush (0% hardness) and paint the fur in the direction shown in the picture below.

Click on the “Quick Mask” mode button, then, if your selection is inverted (outer parts are selected), press Ctrl + Shift + I. Then Filters > Blur > Motion Blur and select the direction of the fur, as shown in the image below.

Now repeat these steps for all areas of the wolf's body that you can find.

Step 10

Let's add some more “cracks”.

Let's add some short fibers growing in different directions.

This time we will draw fur.
IN this lesson I describe my achievements.
But it is not step-by-step instruction, as usual, but TIPS for independent work!

I’ll say right away that it’s more convenient to draw on a tablet.

Forum members probably remember my experience last year - a drawing of Santa Claus. I drew the fur in this picture with a mouse - my hand constantly "sluggish")))))

What is the most important thing when drawing fur? In my opinion - right choice brushes
First you need to decide Which fur you will draw.

The brush used to paint the fur should draw out several hairs at once - this makes it faster and more believable.
I created the brushes using circles and squares in a 300x300pix document (you can take a smaller file). In this case, the brush turns out to be large. Let me remind you how to save a brush: Edit-Define Brush... ( Edit-DefineBrushPreset…)

The screenshot shows two types of brushes and their prints.
The finer the brush details and the greater the distance between them, the lighter and fluffier the print.

To see the difference, I advise you to create different brushes and look at their prints.
This makes it easier to understand which ones are suitable for your drawing.
The brush creation doesn't end there.

You can and even need to play with different settings in the Brush Palette (Window-Brushes, Window-Brushes, F5).

Firstly: size ( Size) brushes - the thickness of the hairs should not be too thick, but it should not be reduced too much, otherwise the fur will turn into a homogeneous mass. It all depends on the size of the document and the size of the object itself.

Secondly: interval ( Spacing) it’s better to set it to minimum - hairs don’t come in pieces.

Third: I advise you to “twist” the brush (change the angle - Angle tilt), while detecting interesting options fingerprints.

The screenshot shows prints of the same brush with different rotation angles. In some cases this can be important.
Experiment!

Also, I used opacity ( Opacity) in the range 25-50% . The most transparent values ​​are for dark brushes, the most visible for light brushes.
To create a more believable result when painting fur, you need to use several brushes. And in order not to change the settings every time (this takes a lot of time and discourages creativity), it is better to save brushes with different settings.

How to do this: first decide which brushes you will use to create fur (their colors, transparency, size...) and save each one separately by opening the tab ToolPresetpicker(1 ) in the properties bar of the Brush tool. Then you need to press the button CreatenewToolPreset(2 ) and for ease of searching in the list - assign a name ( 3 ).

Now, when changing a brush while working, you just need to open a tab with a list of saved brushes and select a tool with the desired settings! Very comfortably!!!)))
Well, now let's move on to creating fur!

We will create fur on the Snow Maiden's fur coat.
I started painting the fur last, when everything else was ready. This way you can immediately see how the fur edge looks.
To begin with, using a soft, OFF-WHITE brush, I painted the base of the fur edge.
When creating a base, you can lower the Opacity ( Opacity) brushes.

Immediately after that I sketched reflexes. Why right away? Because it’s more convenient to distribute the fur this way (i.e. you can immediately see which brush to choose). And so that at the end of a long work you don’t have to redo it, if, for example, dark background Light fur inexplicably appeared.
I placed the layer with reflections at the very top.

Where to start drawing? Better with small details (in in this case- hat, sleeves). It will be sample(you should periodically look there - the length of the fibers, the thickness of the fur, the color distribution, etc., so that different parts of the fur product do not differ from each other) and training, if it doesn’t work out the first time, we’ll save time spent on a large piece.

So I started with the header.
For work, it is more convenient to enlarge the document as much as possible, but you also need to periodically look at the result in real size.

I used three brushes: white - opacity 50%, gray - opacity 30%, blue - opacity 20%.
I painted with each brush on a separate layer and for convenience I called them that: light, gray, blue. On the one hand, time is wasted on creating layers and moving through layers during the drawing process, but on the other hand, it is easy to make corrections and the progress of the work is clear. As a result, time is only saved. And redoing... there is nothing worse!
Here I applied another brush setting (see screenshot):

This makes the fur more fluffy... compare.
The drawing algorithm is simple: I started with light fur, then gray, then blue.
The hairs should extend slightly beyond the borders Basics fur. If necessary The basis You can wipe it off with an eraser.

The arrows indicate the direction of the fur fibers.
The distribution of fur fibers is different in each case, this is just an example.

Above the layer with reflections I created a layer - Extra fur. Here final amendments and additions were made for all parts of the fur edge.
The shadow from the fur of the hat also has the right to be)))

The hat is ready.
Now we draw the fur on the sleeves.
When working, I tried to keep the document magnification scale constant - it’s more convenient to draw this way small parts identical. As I already said, when drawing the following fur details, it is advisable to look at the first option as a sample.
The work plan is the same. Drawing on different layers ultimately saves time, but makes the document larger. Everywhere has its pros and cons)))

All that remains is to create the edge on the shoulders and along the edge of the fur coat.
I made fastenings on the Snow Maiden’s fur coat. We must remember that fur fibers get onto such parts.

The arrows in the screenshot show the direction of the fur.

The screenshots clearly show the difference in the drawing process. That's why I'm not writing instructions, but tips for independent creativity.
This is what I ended up with.

Now let's try to draw some separate fur item, well, the same hat. Only entirely fur.
First, let's decide on the style and color, and pick up a brush.

I used these colors. But there can be much more of them, or rather there should be more of them. But within the framework of the lessons we will limit ourselves to this number.
I ended up with 6 brushes with different transparency (the darkest ones are the most invisible).
Let's start with creation Basics caps using a soft brush. To create it, you can reduce the Opacity ( Opacity), as I have said.

Then I drew the fur using the same plan. First I decided on the direction of the fur and Forward:
-different colors - on different layers,
-changing the opacity of not only brushes, but also the layers themselves,
-sometimes adding blurry copies of layers (it is better to reduce their opacity to a minimum).
And another tip is to change the background color to see any shortcomings and correct them immediately. For example: we draw on white and periodically look at black.

Let's remember the shadows...

How I drew fur on small pommel... I only drew one pommel, and simply copied the others))) and transformed it as necessary.

Add a shadow from the cap.
I raised the levels a little more.
That's all!

I really hope that my advice will be useful and “fur” masterpieces will begin to appear from the pens of computer artists on our site!)))

With wishes of creative inspiration,
PIROGOVADESIGN

This lesson was prepared for you by the site team

Before you start drawing, do some research. There are many types of fur in nature, so try to find out what makes them unique. In order to have an idea of ​​what the fur looks like in the photo, you can check out the photos of cats at http://kotemot.com/gallery/photo/. Copy some photos or find living nature for practice. When you draw sketches, try to mark which animal the fur belongs to, as well as what features it has.

I recommend having a sketchbook just for sketching. Sometimes, being an artist, a person is very involved in creating finished works, and he doesn't waste any time on exercise. Sketching regularly will keep you fit and is a fun and relaxing pastime.

Some basics

Now for some basic tips. The figure shows a rough model of the direction of hair growth on a generalized model of a representative of the wolf family. The fur usually “flows” from the front of the animal to the back. Note the curved lines: this doesn't necessarily mean that the fur itself is wavy, but rather to show that the fur is located in 3D space. Usage curved lines for the image of fur will make the drawing three-dimensional. Using straight lines will make the image look flat, so be careful. In addition to the above, I note that the direction of the fur, its length and thickness also vary depending on the part of the body.

Here's another sketch, a simplified model that shows how fur length varies. Every animal is different, so try studying different animals to understand the unique fur distribution. Accordingly, varying the fur length and thickness will add a greater degree of realism to your work.

Do's and Don'ts

Here are a few things to avoid if you want to create realistic fur.
Obviously, there's no such thing as a wrong way to draw it, so if you want to style fur in these ways, go ahead!

Don't do that, whatever it is. I carelessly created this “box of pencils” when I was making last lesson. The fur looks too monotonous and waxy.

Use soft lines and brushes, as well as curved strokes.

Don't make fur look like fur teddy bear! This is what happens if you draw the hair the same length and in the same direction, as if someone has combed it.

Alternate the length of strokes and their direction. The real fur is a little disheveled!

Don't trace the fur. This might look pretty cool in comics, but it's not ideal for realism.

Instead of drawing an outline, try to create smooth transitions.

Be a critic!

Evaluate work with a critical eye. What's good and bad about work? Seeing the stages of someone else's work can help you identify your strengths and weaknesses. It happens that we do not realize what we are doing until we see someone else doing it.

Lighting

Ultimately, lighting is what determines how realistic your work will be. Make sure you decide where the light source (or light sources) will be before detailing the fur.

Once you determine the lighting, you will want to figure out what effect that light will have on it. On sunlight the fur will have bright highlights. If the light source is behind the animal, the fur around the edges of the figure will be illuminated. And very bright light will “extinguish” details in illuminated areas and emphasize them in the shadows.

Technique

This tutorial is aimed at Photoshop users, so the tools and settings mentioned may not be the same or available at all in other programs. But no matter what program you use, these techniques should be feasible with whatever options and tools you have.

This lesson was also created using a tablet. It will be very difficult to recreate such a result without having it.

Brushes

There are no special brushes. They are all standard.

-Hard Round 25 Fading

Take a regular 25 px hard round brush. Next, in the Brushes menu, click on “Other Dynamics” and set the Flow jitter to the Pen Pressure control mode in the drop-down menu.

-Hard Round 5 pixels

A standard 5px hard brush. Doesn't need changing.

-Airbrush Detail

Open Photoshop's Standard Brushes and scroll down until you see Soft Brushes. Select one of them, set the size to at least 60 pixels. Open the Brushes menu, click on “Shape dynamics” and set the control mode to Pen Pressure (meaning Size jitter), then click on “Other Dynamics” and also set the Flow jitter and Opacity jitter to the control mode Pen Pressure.

Short hair.

Below is a method of drawing short hair, which will be ideal for representatives of the wolf family. Many animals have this type of fur, but it is not a solid color; all hairs differ in shade and brightness.

1) Start by applying a base color to the area where the fur will be located. Try to mix several colors so that it doesn't look monotonous.

2) Then use a 25px brush to define the direction of the fur. Paint with soft, short strokes.

3) Now let's start adding more color to the hairs. Continue using the 25px brush and select 1-2 colors to introduce the fur. I choose one color a little darker than the base color, and the other is not only darker than the base color, but also less bright (more gray). On the left side I make the fur shorter, and on the right longer, so I add more dark strokes on the left side, because if the length of the animal's fur changes, its color also changes.

4) Now you can switch to a 5 pixel brush for detailing. Choose a color slightly lighter than the base color. From this moment more intensive work will begin, as you will apply small short strokes over the entire area, drawing each hair. It seems tiring, but once it becomes a habit, the movement becomes instinctive. Go over the entire area: short strokes for short fur and long strokes for long fur. Once you've completed this step, the fur will look pretty good and you can stop at this stage, but if you want to add even more depth to the image, you'll have to add even more changes.

5) Now you need to choose a color even darker than it was the darkest up to this point and a color even lighter than what was the lightest up to this point. Use short strokes to add dark color, go as freely as you like. There is no specific formula for this step, draw as you see fit. For application light color Use long strokes and wriggle your hand a little so your lines look slightly wavy.

6) Here you see the final result. All I did at this stage was create a new layer above with Overlay mode and use a soft brush to add more shades.

For the following examples I do not provide a detailed description of the process, but essentially it is exactly the same.

Smooth/shiny fur: Basic colors, shadows and short hairs, the most shiny areas, adding more intense shadows, details.

Heavy, lumpy fur: Base colors, shadows around clumps, highlights, darkened shadows, details.

Fur with patterns: Applying “flat” colors, applying shadows and highlights in Overlay mode, general details, small details, adjustments.

Long wool

Now about the long fur. To avoid repetition in the future: for short hair we use short strokes, and for long hair, respectively, long strokes. Remember that most animals have different coat lengths and textures. various parts bodies. The technique of drawing long hair is ideal for depicting manes, tails and simply long tufts of hair. Try to combine this technique with the one described above.

1) Just like when drawing short fur, start by applying the base colors.

2) Use the eyedropper tool to grab the colors from the base layer and use them to start defining the “flow” of the fur (using a 25px brush). Draw with curving lines to show that the fur gradually widens downward. At this stage I also added some shadows at the bottom to give it a more rounded shape (always determine the placement of the shadows before drawing in the fur).

3) It becomes a little more difficult to explain further. Choose a color much darker than the base color and, still using the 25px brush, apply it to the areas where the fur seems isolated. These are the areas between the hairballs. Use an eyedropper to grab a base color and paint clumps of fur hanging over the darkened area.

4) Now use a 5 pixel brush for detailing. Choose a color lighter than the base color and start drawing in small hairs. Start with short hairs on a short section of fur, then gradually make the strokes longer and longer. Try not to add a lot of detail to the shadow areas between the lumps that you outlined in the previous step, as light will not reach there.

5) Then choose a color lighter than the lightest and darker than the darkest. Now with this dark color Make very soft strokes in the area between the tufts of fur. Using the lightest color, casually draw in the hairs that catch the light. To make them look more natural, they should be a little wavy and tousled.

6) The sixth step shows the final result. To achieve this, enrich your color palette by painting on a layer in Overlay mode. If you want the edges to be fluffy, go around them with an eraser.

Messy Fur: Base colors (darker colors where the fur is more unkempt), drawing strands with a base light color, strands overlapping the lower ones, more detail light color, adding clumps with a 25px brush.

Coarse textured fur: Basic colors applied speckled, indicating the direction of fur, highlighting individual strands, applying careless strokes with varying colors and black strands, highlights.

Thick fur: Base colors, furball outlines, shadows, highlights worked in with a detail brush, softening the image with a large fade brush, and adding highlights.

Photoshop. How to highlight the fur of a shaggy animal

In this lesson you will learn how to Photoshop program, you can cut it out from the background like this complex object, such as a dog. Those. You will learn how to cut out animal fur from a background.

1. Open your photo in Photoshop (Ctrl+O)

2. Go to the CHANNELS panel and find the most contrasting channel. For this image, this is the blue channel. We create a copy of it (right-click on the channel and from the context menu select the command CREATE DUPLICATE CHANNEL...).

3. Apply the command to the copy of the blue channel:

IMAGE → EXTERNAL CHANNEL

We select the blending mode so that our image becomes even more contrasting. For this photo, the most appropriate blending mode is OVERLAPPED.

4. Then using the command:

IMAGE → CORRECTION → LEVELS

If necessary, we modify the image with white and black brushes.

5. Load the selection by clicking on the button – LOADS CHANNEL CONTENT AS A SELECTED AREA, which is located at the bottom of the CHANNELS panel.

6. Go to the RGB color channel and execute the command IMAGE → INVERSION.

​In this tutorial I'll show you how to create a small set of Fur brushes, and then we'll use the brushes we created to recreate the animal's fur. We'll practice on a fox's tail. Using our created brushes including the tool Finger(Smudge Tool), we will create both soft fur and rough fur. We also use blend modes to add color and warmth to the fur.

Final result

1. Prepare the Photo

Step 1

Open Adobe program Photoshop, create a new document, create a new layer. Select a tool Brush(Brush Tool (B)), set the settings to a hard round brush.

1. Draw several dots of different sizes. The boundaries around the points will determine the size of your future brush.
2. The dots should be a little spread out, but don't worry if the dots are evenly spaced.
3. The dots should form either a circle or an oblong shape.

In style, we'll call this brush the "spot brush."

Translator's note: names of brushes - at this stage of the lesson, the author simply indicates what this or that brush will be called, taking into account the style of the brush pattern, and when we save the created patterns as brushes, then we use these names.

Step 2

Create a new layer or move to an empty space within the work area. For the next brush style we are using a Hard Round brush, in the Brush Options panel select the option Noise(Noise). Reduce Opacity(Opacity) and Pressure(Flow) brushes to 60% or so (you can also experiment with these settings). Next, go to the brush settings panel (F5). Select an option Dynamics of shape(Shape Dynamics). Install following values.

Size fluctuation(Size Jitter) Control(Control): Pen pressure(Pen Pressure).

1. The next brush will resemble a tuft of fur.
2. Draw overlapping lines so that the lines bulge on each side.
3. Vary the length and opacity of the lines.

In terms of style, we will call this brush “fur bun”.

Translator's note: You can create multiple brush patterns on one layer, but you will have to use one of the selection tools when creating/saving the brush, or use multiple layers - it's up to you.

Step 3

The next brush is one of the most basic ones that we use to recreate the fur. Using a soft round brush, paint dots scattered in a circle of varying diameters. Draw the first option with the setting turned on Noise(Noise), and the second option without noise (draw both options), so we will create a brush with soft fur and with rough fur.

We'll call these brushes "soft fur" and "rough fur".

Step 4

Finally, we use the Hard Round Brush once again. In the brush settings panel, select the option Building up(Build-Up) and Smoothing(Smoothing) to create short hairs of fur that look like grass fragments. Vary the size of the hard brush to recreate different thicknesses of fur hairs.

We'll call these brushes "short fur".

Translator's note: 1. in new version programsPhotoshop has a new option in brush settings Building up(Build-Up), if you don't have this option, just ignore it 2. The author creates several brushes, varying the brush size each time.

2. Save and Apply Brushes

Step 1

Select one of the selection tools. Create a selection around one of the patterns you drew earlier in this tutorial. Next, let's go File - Define Brush(Edit > Define Brush Preset), give your new brush a unique name (or give it a regular name if you keep experimenting with brush shapes and styles). This will add the new brushes you created to the standard brush set.

Step 2

Now, test each brush. Play with the settings Pressure(Flow) Opacity(Opacity), including settings in the tab Brushes(Brush (F5)). Try painting a long stroke with the brush to see how the brush paints and what texture it creates.

3. Drawing a Fox Tail: Stages of the Artistic Process

Step 1

Create a new document and then create a new layer. First we use a hard round brush to create a tail that will represent the fur pattern. Next, use the brushes we created earlier in this tutorial.

1. Draw the tail using light gray shades. Notice the white tint at the tip of the tail.
2. Next, add dark gray shades at the very top of the ponytail.
3. In conclusion, I use grey colour mid-tones at the top of the tail. This will give you an idea of ​​what the base of the tail should be.

Step 2

Now, switch from the current brush to the Rough Fur brush or the Soft Fur brush, both of which we created earlier. Please note that I have set the value Interval(Spacing) 4% and also selected options Building up(Build-Up) and Smoothing(Smoothing). I also selected the option Dynamics of shape(Shape Dynamics) and set the following values: Size fluctuation(Size Jitter) Control(Control): Pen pressure(Pen Pressure), because I use Graphics tablet throughout the lesson. Paint digital paintings can be challenging without the use of a tablet.

Step 3

Let's continue adding texture to our tail and also do some tonal blending.

1. Let's start from the top of the tail, use the Rough Fur brush or the Soft Fur brush, the brush colors are medium and light gray.
2. Please note that the size of the brush will determine the type of fur on the tail. Adjust the brush size accordingly. You may need to experiment a bit to find out which brush size is right for you.
3. On the top of the tail I used the Rough Fur brush and on the bottom of the tail I used the Soft Fur brush to represent the different textures of the fur.

Step 4

1. Play with the other brushes you've created. Now, notice the variety of color tones on the fox's tail. ( Translator's note: the half-tone base of the tail will help create a variety of color tones). I created small dots around the tail using the stippling brush we created earlier. I drew small dots on the top side of the tail.
2. Once again add a light gray shade at the bottom of the ponytail. Think about how the highlights might reflect on the fur of the tail itself.
3. I decided to add shadows to the right top part tail
4. I also decided to add dark gray to the sides of the tail. Keep blending the tones and keep the original tail image handy in case you need to see what the fox tail looks like in terms of tonal transitions.

4. Drawing a Fox Tail: Softening the Fur

Step 1

Let's set up the tool Finger(Smudge Tool).

1. Select a tool Finger(Smudge Tool).
2. Set the degree Intensities(Strength) 77%. You can, of course, vary the degree Intensities(Strength) during the process. You can choose more or less suitable value for your work.
3. In the brush settings panel, turn off the option Dynamics of shape(Shape Dynamics), and the option Smoothing(Smoothing) must be enabled.
4. Finally, set the value Interval(Spacing) 10%.

Step 2

Now, let's soften the tail.

Step 3

We continue to smear sections of the tail.

1. The brush movement should be as if you were painting small pieces of fur, not as if you were painting the entire tail at once. Try to keep your computer in step with the movement of the tool. Sometimes it may lag and then you will have to wait a little.
2. Try to smear to the side on the ends of the fur. This will make the fur look shaggier and less coiffed.
3. Notice how soft the ends of the fur are and also how the fur tapers. All the lines that we drew earlier should taper in accordance with the tonal transition of the fur.
4. Soften the dark areas of the fur so that they lie in the same direction.

Step 4

Let's zoom in (Z), (to be honest, I rarely zoom in/out while working, but for the purpose of this tutorial, I tried to show each step in full).

5. Coloring the Fox Tail

Step 1

At this point in the tutorial, let's set aside our created brushes (until the finishing touches). Now, let's focus on adding color to the fox's tail.

Create a new layer. Select a standard soft round brush with opacity(Opacity) 75% or approximately. Set color foreground to a dark reddish-brown hue. Now use a brush to paint almost the entire tail.

Step 2

Create a new layer. Select a standard soft round brush and set the brush mode to Multiplication(Multiply), Opacity(Opacity) brushes to 28%, a Pressure(Flow) brushes at 75%. Set the Foreground color to a dark reddish brown. Now, using a brush, paint almost the entire tail.

Step 3

The next step, in my opinion, is the most interesting. Once again, create a new layer in the Layers palette.

1. Using a soft tapered brush, add dark brown, yellow, orange and reddish brown along the tail. You can add a small blur to the layer, for this we go Filter - Blur - Blur(Filter > Blur > Blur). Translator's note: A tapered brush is a brush with a tapered stroke tip.
2. Reduce opacity(Opacity) of the layer up to 55%.
3. Overlap(Overlay).

Step 4

1. Create another new layer and use a soft round brush to paint the tail with yellow-orange, orange, brown and yellow ochre. Next, let's go Filter - Blur - Gaussian Blur(Filter > Blur > Gaussian Blur), set Radius(Radius) blur, approximately within 10 - 50 px.
2. Change the blending mode for this layer to Soft light(Soft Light). This mode should add a soft glow of color to the tail.

Step 5

I've zoomed in again to show you the details of the final layer. Notice how the fur texture looks. I increased the value Interval(spacing) in the settings for the Rough Fur brush to add texture to individual areas of the tail.

You can either paint yellow, orange and brown on top of the tail, or paint light gray below the color layers. Play with chiaroscuro, because... We are already at the final stage of processing.

Step 6

Finally, this step is selective, let's add some texture to the tail. To do this, create a merged layer (Ctrl+E). If you want to save the created layers, first group the layers (Ctrl+G), and then create a duplicate group. Next, being on the duplicate with the group, perform mixing.

Translator's note: perform mixing (Ctrl+E).

• Effect(Amount): 180%
• Radius(Radius): 8.0 px
• Threshold(Threshold): 19 levels(levels)

Great job, we have completed the lesson!

Now, armed with the techniques we've learned today (creating a brush, creating a fade, smudging, and adding color), you can draw an animal's head or draw an entire animal! In the screenshot below, you can see the fox mask I drew. Just like we drew the fox's tail, I used the same steps when drawing the fox's mask, except instead of the tail, I recreated the fox's head when I added the halftones.

Thank you for being with me. Hope you enjoyed this tutorial!