So let's go for the other one. On this one, I'm going to use a slightly different technique. So I'm going to create the same overall tone on the entire image. Again, this is a very dark image. Okay. So we can start by toning in the canvas. But now I'm going to switch to the Lasso tool, and you see that I'm only going for the biggest geometric shapes I can find on this composition. This is actually a little bit more bold than going with just a brush. Because when we work with the brush we try to draw too much, we pay too much attention to detail. When you work with the Lasso tool you don't have this luxury, you only focus on the biggest shape the geometric Lasso can create. We tried to create an average of the general tone of a given area. So what I'm doing here is, basically, I'm making an average between the area I'm working on and the background. You can see they are pretty much the same as of now, but in the image I'm using as a reference the background is a little bit darker than the skin tone of this character in the foreground. So, let me work on the areas around the head so I can make the head visible. Let me pull up my color picker to this window, so you can see what tones I'm choosing. Let's make it light. I think this is a good tone, and now you can see that the border of this window is actually the head of the character, but there's also the darker background beneath the window. So, let me select the entire environment, and let's make it darker. Using the Lasso tool does not mean you cannot use the brush, but let's use the Lasso tool more now, so you can see how you can select bolder shapes instead of trying to paint two shapes in detail. Now, you can see that we can clearly see the head of the character against the window and against the background, and his suits just kind of merging with the background. Pretty much the same we have in our reference image. Now, this other character here, he is lighter than the background, so let's choose a tone which is just one tone above the tone of the background. Let's fill this area. When you have an area selected if you click "ALT" and "Backspace", you fill with the foreground color, which is pretty much how I'm feeling these areas, flat and quickly. So, a brighter tone for the face of the character "Alt + Backspace", and we begin to have the same kind of composition, the same reading in the scene. The task is a little bit different here, so let's select an area for the desk. Yeah. That's pretty dark, pretty much the same as the suit, so we have this merging of the foreground character with the table. There's a bright sheet of paper here, so let's make this really the brightest note in the composition as it is in our reference. It's interesting because even though we are not using any subtleties and the shape, you can still understand and read the composition just by using this large geometric shapes selected with the Lasso tool. Now, let's begin this other composition here. So there's a pretty noticeable diagonal on the top of the composition in this border here which pretty much corresponds as cast shadows from a distant object. So these are going to be somewhat darker than the tone I selected for the background, perhaps a little bit darker. Yeah, I would say something like this. Now, we have the character which is almost like a vertical rectangular shape. Let's just give a little bit of roundness, so it becomes a little bit more interesting. But placement and correctness of tone are essential here. There's this other shape here which is really dark, so let's fill that with the same tone as the character. This is basically the rate of the composition. When you have something like this, just basic shapes, just flat shapes, worn against to each other light and dark, light and dark, you can have what we call the graphical reading of the composition, the graphic composition of the scene. That's pretty much what our brain reads when we look at this composition. So it's essential to learn just catch like that because once you do, anything you do will be able to be communicated to the viewer in a more efficient manner if you can't convey this graphic reading. So let's make this a little bit lighter because this is a dark door and the upper portion is in the shadow and the lower portion is in the light. So it's darker than the background, but lighter than the upper portion which is inside the shadow. Now, there's another vertical off shadow here. So let's just fill this shape, and, of course, the head of this character. Let's fill this with a dark shape. Yeah. Well, I think that worked pretty well. I mean, not a lot of detail and no excessive amount of information, but it's all there. Now, let's go back to the brush, and let's try this order composition here. This one is interesting because you have this tube light rectangles in the background, and the character is pretty much like a shadow in front of that. So let's make this darker areas in the composition just by brushing in. Now, I'm going to try to be a little bit more selective and economic, pretty much as if I was using the Lasso tool. I'm going to use the brush, but I'll use the same procedure I use when I use the Lasso tool. Just a little bit of Lasso here to have my straight lines really straight. This is all real time. This is not a sped up the video. So you can see that in a matter of minutes you can create this kind of studies, and this will benefit you a lot. When you do the studies, even though you are working with smaller compositions and in graphic compositions, if you do that on a daily basis or as often as you can, you see that you'll benefit enormously when you have to create your own compositions. You'll be able to think graphically about your compositions. This is one of the most important exercises you can ever do to improve your sense of composition. So let's select a lighter color slightly lighter than this background, but dark enough so it stands out as the shadow against the lights on both corners of the image. Of course, there's the color, the shirt here, and I'm just drawing with the Lasso tool, so no subtleties here. I'm just trying to select the areas where this shirt appears. So it's, again, lighter than the background, but not even close to the bright rectangles. Yeah. This is actually pretty spot on. There's still a small shape here, and now there's this rectangle which is a little bit lighter behind the head of the character. I would say the tone of this area is pretty similar to the tone of the shirt. So let's try to pick the same color and fill that in. Yeah, you have the graphic composition of the scene as well. So, this study is actually invaluable if you want to improve your sense of composition. Whenever you're planning your work, try doing a couple of studies before, especially if you can find references with the same mood. Notice that when I'm in a zoom out on the scene, I can actually have the same feeling. It's pretty much like a one-by-one copy, but they're so much simpler because I only used simpler shapes. So this is the power of the graphic compositions. So make studies like this, and now let's dive in in our main piece of concept which is an environment. So, I see you all in the next video.
