Digital Figure Painting Livestream Archive #1

[New Masters Academy]

In this session, NMA instructor Iliya Mirochnik will paint a monochromatic portrait in photoshop, using only a soft round brush. He will show you how to complete the artwork while achieving the parameters of this week. You will learn to build upon your skills in digital painting and constructing the figure. You will also study other students’ common mistakes as Iliya critiques their submitted work.

Join Iliya Mirochnik each Saturday for our weekly Digital Figure Painting interactive stream, where he teaches you his approach to digital figure painting. Each week provides a different set of limitations. Iliya will demonstrate the assignments, answer questions, and critique students’ work submitted through the New Masters Academy Discord channel. This event is free, but you must RSVP to attend: https://live.nma.art/digital-figure-painting/

To view the full Friday Figure Drawing archive, click here.

[Matthew Haverly]

Great mention of Clip Studio Paint in the tutorial.  Just wanted to say as a portrait artist that does dry media portraits and digital portraits – Photoshop:  I am not a fan of photoshop for attempting fine art for many reasons.  I think you should know photoshop but as an artist you need to use a tool created for art, and to me that at the moment brings me to Clip Studio Paint.  I wish academia would get behind it a bit more.

So many many reasons for wanting to mention this.  I love Procreate on the iPad, but when I got a 32″ Wacom Cintique tablet, was forced to learn another app because Procreate is iPad only.  This led me to go the distance with Photoshop and Clip Studio Paint.  I now prefer Clip Studio Paint for many reasons.  The iPad product for Photoshop is a joke – nothing like the real photoshop on desktop.

[Matthew Haverly]

This might be one of my favorite digital portrait tutorials I have seen yet.  I really appreciate that he chose to do a monochromatic portrait, and to do so with a single brush.  Worth noting that the “soft brush” he is using actually does appear to have a slight variance with pen pressure on opacity, and possibly even size (just slightly).  I also like the approach of getting tone down first, and getting a rough shape even with just soft edges of the entire form to start, keeping a tonal balance across the canvas right at the beginning.

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