We got the painting roughed n with all the local color. The next step is, I start defining that from trough shadow and highlights. Let us jump into that. The first thing we want to do is create a new layer on top of all our zebra layers. Remember that we got the grass layer there. I put the layer under the grass layer and over the zebra. Then I set it to multiply. That is one of the composite methods. That enables me to create a layer that multiplies with the layer underneath. That is a great way to add shadows. I grab a nice, cool neutral color and I paint right over what we got and start painting in the shadows. That is what it does, it paints in the shadows. What is cool about it is because it multiplies with the layer underneath, I don’t paint over everything. I just add to it. This is a great way to add shadow. Everything will get darker in relation to everything else. As I paint, the strips and the light areas get darker. They don’t get darker all the same. They get darker in relation to each other which works well. As I sit here, I imagine this is another thing. When I talked about painting and drawing from life, I build up that visual library that you might have. When you draw on paint from life, not only do you do see how to draw things, but you also see how lights fall on form. That is what I am trying to do. I imagine the light comes from over my shoulder. The creature looks into the light . So I know where light hits and where the shadows hit. Along the side of his jaw line gets into shadow. This is where I have an opportunity to find some of the musculature in the body. You can see that I put along the mane into shadow. I made the brush bigger. The top of the muscle on the neck goes into shadow because its not hit getting hit with direct sunlight. Along the top part of the neck is in direct sunlight. What I try to do along the arm is I start to define those muscles and where the arm connects to the body. Here I want to define a little bit of the shadow on that latissimus muscle that I pointed out earlier. Now it comes together nicely. I got the shadow on the rear end of the animal. Now I hit the definition in the fur that comes off on that mane. This is our chance to start pulling together details. This is where it all starts to sink. I want to emphasize, when we started out, we started with a very rough sketch. You slowly work your way towards the end of the painting. Try to keep yourself from going to detail too soon. That is really important. I created a layer over the top of the clouds and I set that to multiply. I start to paint in a little bit darker areas. Even though we have painted in darker areas on the clouds, I want to define them more. By adding darker shadows, it adds more variety to the clouds. Lets go ahead and add a little rainstorm in the background. That adds a little bit of drama. We hit that in there. That feels pretty good. Look at that ! That comes together pretty good. I really like this. Let us go ahead and add shadows. Go ahead and add shadows down the grass area. I grab a smaller brush and start to paint right down. It adds more definition. It starts to add detail. This is where you truly find it. I added a new layer and I set it to overlay. I grab a nice warm and bright color. It is time to add some of the lights. I paint where the direct sunlight hits our creature. I start lightly. I set the opacity down. I hit where I think there should be light hitting directly on the zebra. In overlay mode everything gets lighter at the same relation to each other. You can paint over the top and lighten everything but you lighten it in relationship to each other. Look how the strips lighten up compared to the light areas. I think of it as painting on the light rather than painting on pigment. That is one of the cool things about painting digitally. I can literally paint light and I think about the form, how light falls and how it reflects. There is also bright light, the core of the light, there’s shadow and that’s where all of it starts to come together The from is starting to hit. I jump back and forth between my shadow layer and my light layer. I am in the shadow layer and I darken it up. I want to hit the deep core shadow areas and get them nice and dark. I even add some markings that you might find on a lion out in wild. It almost goes into dark black I like that. If you look at the face you can see detail happening. All I do is I define the darker areas. I want to get the creases where the skin bunches up and where the arms come together. That is what I do here. It casts a little bit of a shadow in there so I hit that a little bit. You can see I have added some muscles in the arm. The painting itself is really starting to come together. It’s where a lot of fun at this stage. I want to do work on the clouds now too. I add a new layer and set that to overlay. I want to brighten up a few spots like on our zebra. We should have some nice light hitting the clouds. I grab a nice and warm color and get my brush big. I brush over it and hit light areas up. it starts to really brighten it up. The clouds start to get some nice volume to them. I shrink that brush down and hit a few areas. Painting these clouds is all about being in control. You also want to be spontaneous as well. I want to go ahead and hit the grasses with the same thing. I set it to overlay and I hit light textured areas. I want to increase that value range. When we started out, it was all one value going across. It was all the same color. As we work our way towards the end of the painting, we get more value change. That feels good. We are ready for our finishing details.