When you work with traditional media, you have to be extremely careful because the pencil drawing is right on your paper. So as you apply paint, you actually cover up that line drawing. And what you're left with is paint. So when it comes to digital, the rules are a little different. Because you can apply that paint in the same way. But then you can have your separate line art layer. And the technique I want to show here really takes full advantage of the digital tool set that Photoshop brings to the table. And it doesn't really have much to do with the traditional thinking that an oil painter might use. But as a quick reminder, if you look below the post, you'll find links for free brushes and worksheets, as well as in-depth premium series available in the control paint store. So my whole goal in this process is to find every line in my image and replace it with paint. So up here at the border of my skull, instead of having a black line, I'll have the color of the background, and then another value, which is the edge of the skull. And where the two meet creates sort of a linear exchange, but it's really just one area of value next to another area of value. I want this to look nice. And here's where the masking technique is going to come in. Unlike a traditional painter's ability to go only one direction, add paint, I have the ability to use a mask in order to both hide away the lines and also bring them back. So controlling the mask with a brush tool, and if you want to know more about this, check the bottom of the post I've linked previous videos. I can both hide away and reveal these lines. So what this means is that as I want to refine one area, I can partially hide away the line. On a new layer, I can paint underneath, refining that edge, and then hide away more and more of the line as I go. Thus allowing me to use the line art as a guide, and then slowly remove it. Until eventually, I won't need it at all. And then it's hidden away, and I'm left with two areas of value. So this process allows you to transition from a line drawing to a painting. This is half of the equation. I've shown you how I like to do it, using some of Photoshop's tools to make the line removal process easier. But the other half of the equation, the Y, why do I have one edge, be a sharper transition and one be a softer transition? Well, that's going to be covered in Thursday's video. We're going to talk all about edge quality and edge transitions. So thanks for watching guys.