Gooday everyone and welcome to a bit of an odd one. So, you guys’ love seeing the melting fleshy
arseholes on this channel and I’ve been asked to make a video sharing my thoughts on the TourBox
so, I’m going to kill two birds with 1 stone here. First the promo, then the speed art.
Right, so, this is the TourBox. If any of you here are digital artists, video editors, directors,
photographers, if you use any of the programmes that you would commonly use for this kind of work,
you know, Photoshop, Premiere, Lightroom… this little do-dad is a nifty little piece of equipment
that really aids and optimizes the whole process. So, it’s about so tall and so wide,
thick tough plastic, very weighty and plugs in via a USB
and what it does, is it pretty much completely streamlines your editing process. Each one of
these buttons and dials is customisable to link up to a shortcut for the software you are using.
Now I’m sure a number of you right now are thinking, but I have a keyboard so
why would I need that. Yeah? And what’s going on with that keyboard while you’re editing away? Your
hands bouncing around everywhere, you’re stretching for the right keys, your wrist
begins to ache. If like me, you have it off to the side to bring the monitor closer then it
starts to become a bit cack-handed. Not the case with the TourBox. It’s all in one hand-sized unit,
it’s just off to the side, it’s out of the way, you don’t even need to look at it.
I’m about to show you some of my most favourite features. It comes with a handful of pre-sets for
different programmes, you can find those up here at the top of the control panel,
they are all completely customisable. All you need to do is click the button and then the
list of shortcuts will present themselves and you pick them as you choose. I almost exclusively use
Photoshop so that’s what I am going to show. So, the wheel at the top here, I’ve got that
programmed for the zoom level. Dial in the bottom left, nudge. Move stuff around. Cog in the middle,
brush size. This thing is amazing. This is the most incredible and most useful feature I have
found. No more of this right click and tapping to find the size I want or using brackets,
it’s all over here. I’m not even looking at it. Over here, I’ve got my eye dropper,
my brush, my save button, my delete button, my opacity button, my eraser button. Up here,
I've got undo and redo button, hand tool to move the page around and up here, I've got my shift
button. And once I press that, all these buttons now mean something completely different. So now,
that was the opacity, that is now my pen tool. That was my eraser button,
it's now my deselect tool. There's loads of things, it's incredible.
It’s not just about saving time, it’s good, it’s nice, it’s there. I know everything that I will
need is in my hand. Since being sent this and I have used this extensively as you can see,
I haven’t needed to use any of the keys on my keyboard or even the hotkeys on my monitor,
while I’ve been drawing. Everything I need is now programmed into the TourBox. The only
thing I would suggest is, get yourself a wrist support pad, it’s really good for when you are
doing those long-haul drawings and keeps everything moving as smooth as butter.
There are loads of other features I haven’t messed about with yet such as
Macro features that compile loads of repetitive actions into a single click and they have separate
pre-sets for other programmes like I mentioned so it’s applicable across a wide range of programmes
Final thoughts. I really would recommend the TourBox, it is a really great product.
It excels at its job and the whole drawing process is much more efficient,
accurate and comfortable, I’ve certainly noticed my own work pace both increasing
but also just being more enjoyable now I am not faffing about. I wouldn’t go back now; I know that
much. It’s just nice, it’s easy, its comfortable. If you would like your own TourBox, there is a
link down below, use it and you’ll get a discount and free worldwide shipping.
And now the When Day Breaks speed art. Thank you for your time.
Ok, so I’ve already got my model here which I am going to use to make a basic outline.
Now that I have that, I can do away with the model and start adding in a rough outline for
the flesh creature I am drawing. At the moment it’s very rough. I am just getting an idea of
where all the major features are, adding in things like eyes and hair and dripping flesh.
Giving them a shirt with some flesh bursting out over their right shoulder.
Right so now I am working on the refined, proper outline. Now, I don’t really need to do this,
I could work from the rough outline, I do for the main videos but I find a clean outline is just my
preferred way of working when it’s single image. So as you can see, it just starts to look much
neater and more organised on the canvas with less fly away lines.
Time to add colour. I’m using two main colours and they both contrast very nicely with each other so
neither will blend into the other which would just make the whole thing look a bit, flat and boring.
Just so there is a bit more for the eye to enjoy. So now I am cutting away stray colour. I’ve got
it on 2 separate levels so I don’t cut away bits from a colour I don’t want to lose.
Ok, the main event. So, I always work from dark to light. Shadows first and then the highlights.
Everyone has their own preference. Mainly here I am thinking about where shadows would be,
creases in the fabric and where the light source just won’t have that much room to penetrate.
The TourBox is worth its weight in gold here just for the brush
size adjuster that I'm going to be using constantly now.
Let’s whack out the burner to darken a few areas. Now the flesh, this’ll be the most time-consuming
part. When I am working on When Day Breaks content, it’s the flesh that usually takes
the longest to draw. If I didn’t add textures, it would just look like normal skin or glass and to
add textures, I need to add lots of shadows and highlights. Back when I first started it was a
very painstaking process but I’ve kind out worked out my own few little shortcuts here and there
to speed things up but it still takes time. These yellow are parts are me making a note
of where the light is coming from. I decided when I started work on the shirt that the light
was coming from the right and that is something you need to decide right at the start or else,
you’ll be going back over parts you’ve done adding in the light source later.
I did that was well right at the start and it took ages so now I do it the right way.
These random shapes and stripes I am adding represent ripples and folds in the flesh.
Again, just thinking about textures. Now it is going too fast for you to
see but I am actually constantly flicking between the eye picker tool and the brush,
picking up colours from areas I have already drawn to reuse.
And I have those buttons right next to each other on the TourBox. Super-fast and efficient.
Adding in more shadows, again. Shadows on flesh take the longest because there is always so much
stuff creating shadows thanks to all the melting dripping flesh. Which is actually brilliant
because it makes the sketch look so much more interesting. The trade-off is it takes longer.
You’ll see the hair is no longer a thing. Sometimes you make these decisions on the fly.
You’ll come across a part and say to yourself, I don’t want that anymore, oh that bit isn’t
working for me, that can go and that’s ok. So, I have now added enough shadows and
structures and texture and highlights that I now no longer need the outline,
I can go freehand from here on in. A lot of it is just random brushstrokes
but not without reason, organised chaos I think is a good way of looking at it.
The eyes! Never have fully white sclera, otherwise the eyeballs have no structure.
Adding in shadows, giving hem some depth, working on the structures of what is left of the face.
The iris and the pupils, I know a few shortcuts. I watched a video where another artist explained
the illusion of detail and that provided a lot of helpful tips on how to do more with less.
Background is now black so all the lighter areas stand out to me. Means I can see where areas need
more highlights and shadows to work with the background and the lighting. More shadows,
more texture, more lighting. That’s the benefit of using a drawing monitor, if I was doing this
on an actual canvas, I’d be mixing mud by now with all these overlapping colours and tones.
The importance of different tones, the contrast between light and dark is the key
to getting depth into a piece and when you have a single light source, such as in this piece,
you can really go to town on those tones and give all the different elements some structure.
And it’s all very pliable. That was going to be bone but instead I have
cut away some of the shirt and now it’s flesh.
Going off-road now. Adding in some dripping flesh around the edges to break up those outlines,
introduce some gravity and give the sides some texture.
Adding some texture to the shirt now. Some frayed parts of fabric around the
torn area so it looks like the flesh has really strained and pushed its way through
as opposed to looking like someone cut it with some scissors.
And now, it’s just window dressing. The last few shadows and highlights,
add the light source, light reflection in the eyes to make them stand out.
And we are done.
I hope you liked this, if you did want more speed-art videos, let me know and if there is
enough demand, I’ll make another. The TourBox is a brilliant piece of kit for this kind of
work so I would really recommend getting one if you want to make your life a whole lot easier!
Thank you all for watching and I will see you all next time.