Hello hello my fellow art nerds and welcome to this
MediBang Paint Pro digital art tutorial. My name is Jessie
one of Winged Canvas' cartooning anime and digital art instructors
and today we will be drawing the Master Sword from Breath of the Wild
stuck in the stone when you find it later in the game in the Korok.
So now this will be a step-by-step tutorial so feel free to follow along!
Open up your digital art program. If you're using MediBang Paint -- great!
If you're not using it, it's mainly drawing tutorials. Don't worry too
hard about that. What you want to start out with is
creating your canvas. Now my canvas, I already have it created.
It is 2600 pixels by 2000 and you already start out with a layer.
This stands for diagram lines -- the one star which is your sketch so
this is my sketch layer and I use the G Pen with a
little bit of blue because I don't really like to sketch in
black and the g pen has a bit of a nice texture that I like. It kind of resembles a
pencil :) and there's a pencil right here! That's
what we'll be using for lining later. Turn on opacity by
pressure so it gets darker and lighter depending on how
hard I press. Getting started, I'm gonna gather up my reference
and also remember that when you are using a reference,
your reference is there for you to take inspiration from, not for you to copy
from. Starting off, I'm actually going to draw
the stone first. We'll just have this triangle
and do it from a different angle so I'm going to have it
as if we're kind of looking up at it. So I'm actually going to start with this
front bit here. Let me change the order of these layers. I'm actually going to
start with this front bit here -- that point of the first triangle so I'm
actually going to draw that first coming up. Then I'm going to go
backwards into the space. Add a couple of sides to it..
It's almost like we've created a couple of rectangles there.
There's this little extra lip on the stone as well -- this little extra layer
So I'm going to draw that in as well. Just a little extra line up at the top
just like that. So we got two trapezoids kind of coming
towards this top here and erase a little bit of the
corners here as well.
Next thing we're going to do is the actual sword a bit itself. We're working
backwards so we're working from the bottom
up. Next bit is the actual pointy bit of the sword itself which is
pretty well just like a rectangle but this rectangle moves inwards a
little bit. So it has a little bit of a divot when
you go inwards but it starts out as this rectangular
shape so let's do that. Let's draw in that rectangle
first. And again this is your sketch, do not
think that everything has to be perfect right now.
Never think that anything has to be perfect in your artwork.
Just so long as you do your best but your sketch should not take you a
million years. So we got that rectangle first and come
into that little divot bit there. Just like that and there's a little bit
of a pattern happening there. It cuts off..
It's almost ascending -- we got the pointy bit of the sword down.
Next thing we're gonna do is the hilt so we want to do
this -- It kind of has -- it's almost like you start off with a half moon shape,
come down into a pair of curved rectangles. So let's do that. We'll
continue up from here.. A little pattern there.. we'll draw our
half moon.
Just at the top.. A little bit longer and then add
a couple of extra wings on the side. Almost like the elbow of
pasta pieces. Curved macaroni ;) You can erase the insides as well. I'm
doing that while I draw. Raising the inside bits..
Notice that I think I made this piece a little too big so I'm going to take my
lasso tool.
Select around that. Hit Ctrl + T (transform tool). Make that a little bit smaller.
Hit okay. Ctrl + D (deselect). So now we have this much of the sword going on.
There's a little bit of extra details within here as well.
So there's a couple of extra lines within there -- cuts off here a little bit..
There's a diamond here as far as I can see. A couple of extra..
I believe -- if I remember correctly -- there's a triforce in the middle here
because it's upside down, this is going to be upside down as well.
The next thing we want to do is the handle. From what I can see
of this handle, there's this kind of large circle here. Actually, I
think it's more of a -- there we go -- it's more of a diamond-ish shape.
Rounded diamond. Then almost a cylinder up here
and another diamond ending it off at the end.
Remember, you want to go back and forth between your reference and your drawing
constantly so then you know you're getting everything accurate. So we're
going to start off with that kind of rounded diamond piece here. Make sure you
curve it the same way that your platform is curved here.
So you gotta curve it upwards. I made that mistake in the beginning but that's
okay :) Curve that back to the top.
Remember we want to keep this in a 3D sense
so let's keep these as cylinders and spheres and whatnot.
Let me get to the top bit again. We want to curve this top -- make sure all of our
curves are going in the same direction and then come back up to a point just
like this.
I think I'm gonna have to make this
smaller. Remember this is the beauty of digitals.
Just in case you mess something up, you can always
fix it. Alright and then we have the sketch for
the sword itself completed. What we want to do next
is our line work so let me just turn down the opacity
of my sketch layer and the reason why I do that
is I see a lot of artists, they'll start drawing, say if I had it on the same
layer -- I kept it all at 100. I made my new layer because we
want to make a new layer for our line working.
But say if I was accidentally still on my sketch layer
then I start lining and then I finish lining and I'm like "sweet" and then I
turn it off and I realize it's all in the same layer and you're
like "oh no I've made that terrible mistake -- now it's all the same layer"
but if I lower my opacity and I start lining and it's in black,
I'll see that I'm lining in gray. I'm like "whoa! that's not the color I'm
supposed to use!" and that's when I realized that I'm on
my sketch layer. So turn down your opacity of your sketch layer all the
time so you never get them mixed up and then you can go back onto your line
art layer -- and it's easier to see as well when you're lining! Now remember your
line art, you want to keep that pretty clean so what you can do --
I'm now using the pen tool -- you can turn up your correction as well. I usually
like to make mine at 15 to 20. I'm going to use 20 just because a lot of
straight edges here and this is when you can kind of start to zoom in some more
to really get lines a little bit more accurate. So I'm going to start from the
top down this time.
Just line over where I've already sketched now remember
your line work is meant to be an improvement on your sketch. You're not
supposed to be copying your sketch exactly.
More likely than not your sketch has a lot of imperfections in there.
Your line work is meant to correct that, not necessarily follow it completely.
You'll notice what else I'm doing is in some crevices here, I make my lines
thicker. I'm kind of in the in between areas, I leave
my lines pretty thin that's because you want a general silhouette
to look nice and clean.
It looks like I'm kind of forgetting these -- I know there's like string in the
middle here. There's a covering for the hilt over
here but I'm not completely done yet so hold your horses! Your correction tool
should take out the majority of your hand shake
but you'll still want to move your hand pretty fast -- your wrist pretty fast.
For smaller details you can use your entire -- just your wrist but
for bigger details you do want to use your entire arm to line.
You're most likely going to be undoing a lot as well.
Take your time when you do your line work.
Remember that when you do your line work, you're probably going to be undoing a
lot but you also want to take your time with
your line work because if you go too quickly and end
up making it all look kind of messy. It's not what you want especially with
something as delicate as line art. So take your time
which is funny because I said you want to speed up a little bit but you're
going to want to do both so make sure that you're doing your line work
carefully but quickly. That way you capture
less handshake and you get smoother lines
in one shot. All right so I've got my lines here
all nice and closed in and that's what you want. You want your lines to be all
pretty close together because then that'll make this next step
a lot easier. So right now you can hide your sketch layer. Just click this little
white button. It'll hide it. You never have to see it.
What you're going to do is select that sketch layer and make a new
layer using this little button down here. I'm going to rename mine "C" -- that's for
colour. What I'm going to use first though. I'm going to go to my
lines layer "T" I'm going to take my magic wand tool and click somewhere just
outside of my lines. Just like that. I'm actually going to set
it so that it references my layer. Just like that and I have it expanded to
two so it goes a little bit inwards inside
of my line work there. Just so then it's
easier to paint bucket it in afterwards. On my keyboard I'm gonna hit Ctrl + Shift +
I (inverse selection) and that way it inverses my entire
selection. I'm gonna go back to my colour layer. Go
to my paint bucket, change my reference to layer instead of
canvas and then I'm gonna choose whatever colour
I think will be the most dominant so I think that
you know this swords colour is gonna be the most dominant.. The sword --
the pointy bit. So I'm gonna choose kind of a blue tinted gray because you never
want to do straight gray because that will end up --
ends up looking kind of flat. You don't really want a flat
colour. So I'm going to kind of choose a blue tinted gray and just
click inside the sword. Hit Ctrl + D (deselect) and now all of your colour is in there.
You can hit protect alpha -- there we go -- and now you
cannot colour outside of the lines. Nice and simple
trick. Fast way to do your flats and now all
you have to do is just reference the colours that you
see. Now make sure that you're colouring in carefully.
I kind of already know the colours of the Master Sword.
Hilt is a purple.
Some yellow accents and then the green tie around handle.
Let's just get to colouring this in quickly.
Alright so I've got my flat colors in right now.
What I'm actually going to do is I'm going to do a background. I'm going to
go to the bottom of my layers hit a new one,
name this one BKG, background. Pick up paint bucket -- make sure it's
referencing the layer. I'm going to pick this super dark green
here because want kind of a dark green background. Kind of hides our reference
layer but that's okay, we don't really need that
as heavily anymore. I am going to make this a gradient but I'm not going to
use the gradient tool and I'll show you
why. I'm actually going to... THERE we go. Then I'm just going to make
a platform, use the eyedropper, pick up this colour.
There we go.
I'm gonna make this a gradient. I'm not gonna use a gradient tool. Let me show
you what I'm gonna do instead. I'm gonna take my G Pen. Make that pretty
big. Super big. I'm gonna make it like a
thousand. Eh, maybe a little smaller. Let's make it..
800 is probably good. Turn down my opacity pretty hard.
So I want it maybe 56 percent maybe 40. Let's go with 40. Eyedropper this
background.
I'm going to slowly start adding in
by just clicking on my eyedropper over and over.
Start to add in some texture.
And this adds a bit more depth to your gradient. I'm not going to
blend it in perfectly because I don't want that. I want that
kind of bushy effect to happen in the back.
I'm going to have to fix this ground area as well.
I'll keep using the G Pen and turn it back up 100.
So it gives it a bit of a rougher look and that's kind of what I want. I want
that rough-ish look in the back and that's a
nice easy way to do a background. What I'm going to do next is my shading.
Now my shading is quite simple as well. Go to my colour layer, make a new layer.
I'm gonna name this "SH" -- shading. What I'm actually gonna do
next is I'm gonna hit this button called clipping. Now you'll notice that it goes
inside a little bit and that creates a clipping mask.
So now it is clipped to my colour layer and I cannot
colour outside of it. I'm gonna pick a dark purple,
go back to my pen tool and just start adding shadows. Now I want my
shadows to kind of be coming -- I want my light to come from the top.
So my shadows are going to be underneath everything that is blocked by the light.
So that's going to be underneath this sword here --
underneath the hilt, sorry, and then a little bit on the bottom side of this
diamond. Of course feel free to adjust. Use your
eraser to make edges smoother. Make sure you're paying
attention to edges you think will be blocked
out because of the way that it is
built.
Just like that, we have our shadows in but we're not quite done.
We're gonna have to do now. Change our blending mode over here to multiply.
Then just turn down the opacity and those are some nice quick shadows
that you've created. You can even copy this layer
Hit Ctrl + C, Ctrl + V it. Again, turn on clipping mask,
rename it. I'm gonna rename it to "sh2" for shading two.
But this time I'm going to change my blending mode to overlay.
Turn down the opacity and put it underneath my multiply layer.
Now my multiply layer has a little bit of extra
colour to it. We're not quite done yet. Not quite yet! What we're gonna do now is
adjust our background layer so again, take our background.
I'm gonna change this layer to multiply, multi. Get that clipping mask on there
onto this background layer that we've created. Now what I'm going to do is I'm
going to take my select pen on the bottom over here underneath the
magic wand and create this spotlight thing
happening here.
I'm just going to color it in. You'll get this translucent red so you'll still be
able to see everything.
Turning up the brush size there
and erase a little bit of it too.
Just like that and now let's go to the paint bucket tool.
Now that section is filled in again, making sure that we're hitting
the reference stays at layer. Make this a light yellow,
hit Ctrl + Shift + I and make everything else instead
a bit of a dark blue. Ctrl + D and now we have pretty well just gotten
rid of everything. I'm going to change that,
there we go. Now we're going to change the blending mode again
to multiply, turn down our opacity, have a bit of this going on, hit Ctrl --
oh no, wait. We're going to want to go up to the top over here.
It says filter and then hit gaussian blur.
We're going to want to blur that a little bit. Change your values up.
Make sure that preview is checked off. I'm going to put mine at 20.
So it's a little bit blurred. You can turn down the opacity of this.
Let's apply a little bit. I'm gonna make this do this layer again.
Make it an overlay, turn down the opacity underneath the multiply layer.
Really up that color that's in there as well.
So that really looks like a spotlight in there and then one final touch
because these are all have all been effects so far,
make one layer above everything, name it "over 2"
This is your main overlay. Pick whatever colour you think is the most dominant.
I'm gonna go with kind of a lime-ish green.
Paint bucket in and everything and then change my blending mode to overlay and
just turn it down. And that adds an extra layer of colour
and vibrancy. And with that, that concludes this
MediBang Paint Pro tutorial. If you liked what you saw, make sure to
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But again, thanks for watching and I will see you in the next video! :)
Buh-bye!