Affinity Designer for ipad volume 7- Creating a lit scene from start to finish | Jeremy Hazel | Skillshare

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Affinity Designer for ipad volume 7- Creating a lit scene from start to finish

teacher avatar Jeremy Hazel, Education Through Creation

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (1h)
    • 1. Skillshare intro

    • 2. Making the flame brush

    • 3. Making the texture brush

    • 4. Making the smoke brush

    • 5. smudging and blurring

    • 6. Setting up the candle project

    • 7. Making the flame

    • 8. Adding smoke

    • 9. Adding the lighting effects

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About This Class

In this course we take the lessons taught on Pixel art in previous courses…and we apply them to create a finished image of a candle. This give application to the concepts and we will be taking the image all the way from rough sketch to building the brushes to finishing the image and exporting. In detail we will cover   

  • The basic workflow of the process in image creation
  • How to create custom brushes   

We will also be covering some of the tools of professional artists like:

  • Complex workflow
  • Creating brushes from scratch

This is part of a weekly release series designed to take a massive program and break it into smaller digestible pieces, so don't forget to subscribe, we will be releasing one new module a week exclusively on skillshare 

All the downloads for the course are included and the project is outlined below.....don't forget to email or message with course questions ......and above all enjoy 

Meet Your Teacher

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Jeremy Hazel

Education Through Creation


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1. Skillshare intro: Our IT folks and welcome to Skillshare. So this is an exciting thing. You actually found one of the biggest baddest Affinity Designer courses out there for the iPad. So we've taken eight hours worth of material and we've chunked it down today, eight projects, specific projects that you can utilize. And so there's eight volumes total in this thing. We would recommend that you take them in order. We start off with the basics of shapes and then we move up to things like pixel. But if you feel uncomfortable and you want to learn a little bit about a certain functionality, feel free to take the volume that matches your skill level. So we're very excited to be here on skill share and we hope that you learn a lot from Affinity Designer. And if there's anything we can do to help you along your journey, when it comes to infinity, hit us up in the comments and we will respond. All right, thank you very much. Have a good time. 2. Making the flame brush : and welcome back to affinity designer. So we're gonna win this lesson. Take a look at pixel brushes and we're gonna make one of the coolest brushes. In my humble opinion that you could possibly make This is going to be a luminosity brush or a flame brush. Now, before we get to started here, there's common themes to brush development. We covered some of these in vector, but pixel brushes work completely different. You remember in the vector brush, I said that the black conceals the white reveals blip that here on pixel brush is so in pixel brush is you want to start with a white background. Now, when I say white background, we're gonna bring up a new document, and the same thing holds true that you want to keep your documents square. So we're doing a 2000 by 2000 pixel workspace, but we want to keep the white background, so we're gonna want a paint in black. I don't understand why it works in Vector and not in pixel. I would have thought they would have been consistent, but they're not. So let's start with this white background. And now it's an intensity brush we already know about intensity brushes from the vector portion. Let's go over to the pixel persona. Let's grab the black. And now the brush I always used to make my luminosity are going to be airbrush is so I'm gonna go to my sprays and spatters and I'm gonna go ahead. I'm gonna choose this airbrush three. Actually, let's do airbrush for I'm gonna crank this up really big and with luminosity brushes. The thing that gives them that really cool glow is the subtlety. So here's what we're going to do. I'm gonna crank this capacity down toe almost next to nothing. I'm gonna keep the float about 50%. Now, here's what I'm gonna dio We're adding the raster layer and now very, very subtly. I'm going to begin putting in some spirals Now, even there, that's a little bit small for me because the mortgage gray you have, the more light you get around the outside. Okay, see how I'm swiping this in? It's a very subtle effect and you see how it's beginning to accumulate in the center. Now, I'm gonna add a few more spirals here, and I'm pressing harder in the center so that I get this really cool kind of thing here where I got a lot of black in the centre and now engaging up and you see how it's beginning to form kind of a spiral. This is a low, slow build into this brush, folks. There is no rushing it. If you rush it and you try to go all dark all at once, you will epically fail. Okay, we see how I'm getting this. Nice spiral begin to develop. All right, Now I'm gonna go ahead and crank down my brush a little crank up my opacity a little. And now right in the middle of the spirals. I'm going to start really kind of hammering the black. And this is what gives it this luminous is the fact that in the base it will all show through. Okay, now we're gonna go even heavier into the middle. Yep, just like that. And I think that we're gonna be in pretty good shape on this now. One last pass. I'm gonna come down. I'm gonna drop my capacity down to almost nothing. I'm gonna raise this bad boy up. I'm gonna make sure that I've got some good differentiation in this bad boy. And I want some areas a white, but I want a lot of areas of soft grey. And I know this is four minutes of watching me do this, but trust me, it will pay off. So now I come up here, I'm gonna crank down my capacity to nothing are 2 100% and right here in the center. I'm gonna make that really dark. All right, That's a good start on a luminosity brush. So now what do we do? We build it too. Just like we would a vector brush come over here and with my selection. Hoops. Let's go ahead and bring that up. Going to come over here and we're going to go export. Right? So we go over here to export export we're gonna export. It is a J peg with the white background, and I'm gonna go ahead. I'm gonna call this luminosity one all right? And return and I'm going to export the entire selection with the background and we go, Okay, now I'm gonna put it in my iPad. I'm gonna put it in, designer, and I'm gonna add Perfect. Now, let's try this. We come over here. Let's go ahead and create a new document. Any size will work for this one. It really doesn't matter. Zip that down. And I'm gonna go ahead and create a rectangle that I'm gonna fill with black. Because if you're testing a flame brush makes sense. Come over to the pixel persona, come over to the brushes, find the category that you want to use, come to the trial, and then we're gonna create a new intensity brush. And from there we're gonna come down to the luminosity. All right, Luminosity one. Perfect. And not we're gonna crank this bad boy up. We're gonna reduce the hardness down than nothing. We're gonna reduce the flow down to 50%. We're gonna reduce the accumulation. And now I'm gonna go ahead. You see what's happening with spacing? I'm gonna come down here, and I'm going to reduce the spacing a little bit. And I'm also gonna change the shape up just slightly. All right. Now with a luminosity brush, this is key. I am going to set a blend mode now. Blend modes recovered earlier. So blend modes. You know what they are. I know we haven't mastered him yet. And then when I set my dynamics, I'm going to adjust the size almost to 100%. So that looks pretty good there. I'm not gonna mess with the accumulation of the flow right now. I think I'm just gonna leave it just like that. So now let's try this. We've got our luminosity one brush picked coming over to the yellow and let's just paste and paint. Now we take a look at it. I'm really happy with what's going on there. You see how, with the ad mode selected its building on top of itself. So now what we're gonna do here, we're going to come over and we're gonna adjust this a little bit. I want to make this much larger than it is, and I want to come over and just redo this brush just a little bit. Let's edit it. And then the part that I really wanted to kind of do let's go ahead and adjust the spacing a little bit more on it to make it a little bit cleaner, and we'll drop the accumulation even slightly further. And now what you want on a flame right is you want a good solid base of something. So let's go ahead. And yeah, now that's a lot better. You see how that's changing? Substantially on that. Now I know you're saying. Well, that doesn't much look like anything. Jeremy, what are you doing? If you go through and you add that in now let's add a little bit of white in. We had in a few strokes of white here. We turned down the size just slightly. And now we come over here and we start blending it out. You're gonna get a really awesome flame. Look to that. I really like the way that looks. And there's two secrets to this one was the luminosity that was created by that subtle grey shading that she did. The other is the addition of the blend mode present in the brush. All right, we're gonna work inflame here a little bit in the projects. I'm not gonna spend too much time. I'm gonna go ahead and cut the video here. The last thing that I'm gonna do is we're gonna go ahead and rename this. Let's rename it Flame one. All right, cool. We're good to go. Let's go ahead and call it a day. Let's go ahead and build into the brush. Folks. This time we're gonna take a look. A texture, brush, seeing the next one. 3. Making the texture brush : all right and welcome back to offended the designer. So in the last lesson, we made the flame brush. In this lesson, we're gonna show you how to make a texture brush, so that's a little bit different. Let's go ahead and open up a new work file. Now it's a little bit different, but it's still the same. You want to have a square workspace and especially with textures, you want to make it as large as is functionally possible. Toe 2000 by 2000 is a good size for a texture. Now, texture brushes work exactly the same because it's a pixel brush as the one we did before this time is opposed to vector right? White is the background. When we talked vector, you had to have a black background in pixel, you have to have a white background and now the main game of a texture brush. You're not gonna use the nozzle on the brush to make the difference. Like we did the round brush or the square brush earlier. You're going to use Onley texture. So to do that, we're gonna come over to the pixel and we're gonna go ahead, choose a brush and I'm going to begin with spats and spatters, right, the sprays and spatters. So it's all about making something that is unique. So let's go ahead and move this up. Let's go ahead and working. Graze right because all intensity brushes, working grey and let's go ahead and crank the opacity down and see what we get. Okay, now you want to avoid pattern. That's really what you're trying to avoid. So you don't want to cover the thing with the same level of spatter. Then occasionally up the ante. Change in some of this so that you get a smaller stylist spatter and then occasionally change up your brush size. So we're gonna go find spray. I'm going to come down here to kind of like a mid crank that up. We're just going to do that number and all you're doing is you're creating a really simple texture. That's it. Okay, looking good. Looking real good. Let's go ahead and put in some lights here. Alright. Looking pretty good there. So now let's go ahead and change of the brush one last time. Let's grab some ink spattering. Cem tinting Come up here to black drop Ah, rapacity. Raise our brush and see what we get This way. See, I'm working this corner because that way it won't look so mundane. All right, so I think that we're actually in really good shape that way. So once you have a texture the way you like it, it's the same process. Come over here. Come over to your document menu. Let's go ahead and export. Now we're gonna call this texture one return we're doing The whole document were in J Peg, be it okay? And I'm gonna go ahead and again put it in my designer file and away it goes. So now we need to come over here and we're going to bring up the document where we were testing the flame brush in the last one. Any old document will do were to come over to the area here where we were working someone in my trial to right. There's my luminosity burst from last time. And now I'm going to create a new intensity brush. I'm gonna find the texture One beautiful Onley. Now, here's the trick. I'm going to come down to the texture. I'm going to select the brush nozzle. I'm going to set the base texture as the brush nozzle. Beautiful. So texture one. Yeah. All right. Perfect. So now you see the base texture in the brush novel. Same type of thing. All right, let's come over here. That actually looks pretty awesome. Let's go ahead and crank that bad boy up. I don't want a hard edge on it. I don't want it to flow very easily. I want the accumulation already set to Max because it's pretty light as it is. And then in the dynamics, I do want to change the shape up a little bit, but not a lot. So I think that this shape really is the Onley dynamic that I'm really gonna want to change now. The last thing in texture you can do a lot. Here you go mode. None. Right. And you could make it very similar. You can go nozzle, and then it will highlight off the brush nozzle. Or you can work off final, which is a combination. I'm gonna go ahead and I'm gonna keep this here and that I'm gonna scale the texture so that I get a good feel. You see, this is why texture was important to see what we're doing with the texture here. We're stretching it up. If that texture was 20 pixels, we wouldn't be able to do that. All right, let's go ahead and hit, OK, and now if we decide to paint, let's go ahead and paint and kind of like a reddish. Make sure we got our texture selected. Why isn't that working? Wrong brush? Hey, look at that. That is very, very cool. Let's go ahead and crank that up. Yeah, that's a good looking texture brush right there. If I added to do it over again and I wanted to address it and edited a little bit more, let's go ahead and edit it. Come over here and it. I'm gonna take the hardness down to Zippo and I'm gonna drop the flow just a little bit more. I think 50 50 is good. I like the accumulation. I like the dynamics of the texture, so I think that this gives me a much better texture. Yeah, that's a lot nicer, all right. And that is a very nice texture brush made in affinity. Designer using a texture and actually using the texture along with the nozzle that's created Same. Alright, folks, let's go ahead and cut it here and let's get on to the next one. All right, See the next one? 4. Making the smoke brush : All right, folks, Welcome back. So this is gonna be the last brush that we're gonna make in order to do what we need to do here. In the next lectures, we're gonna go ahead and we're gonna make a vague a basic smoke brush. Now, a smoke brushes a little bit different than a fog brush. We use the same sort of structure. So we're gonna go 2000 by 2000 and we go ahead and hit, OK, and away we go. Now, you start with the same white canvas because after all, it is an intensity brush, and we're gonna come over to the pixel persona. We're gonna make sure we got the brush selected. And now I like to use my markers to create my smoke brushes. You can do whatever you want to do. I find markers to be the one that I really like to dio. So, in order to work with my markers all grab the large square marker and I'll crank that bad boy to just a ridiculous level, and I'll drop the opacity substantially. And now with that being said, let's go ahead and just try a mark here, Okay? Looking good. See how I'm just kind of creating that shape. I'm happy with that. Let's crank it down a little bit, okay? And you see what makes this smoke brushwork is just the subtlety of the marker strokes. That's why I like the marker to do this. Put in some dark spots around it. Write what you want is you want some dark spots, some light spots. You want a lot of good contrast in here because in the smoke, smoke bends and curves, it moves. And that's another reason why this marker brush works so well. Now you'll notice I'm able to build up in some spots. You want some build up in some spots you wanted, probably in white in others, and you see that there's a flow right toe left. That's kind of important. You start building this up, you kind of get that idea a smoke. It's going crank up the capacity just a little bit more some of these areas, all right, so I think we're pretty good there. Now let's go ahead and come over there, and we're gonna export export. And let's call this delete. Let's call this smoke one and return and the document and we *** and we put it in the designer file and we had a beautiful All right, so now let's go back to our trial here. This is the same trial sheet that I had before, and now we're gonna make a brush. So we come to the pixel. There we come to our brushes, we come to the trial category, and we're gonna make a new intensity brush e, and we're gonna make a smoke brush. I smoke one. All right, beautiful. Now we're gonna crank this bad boy all the way to Sunday here. That's gonna be a bad That's gonna be a bad one. Hardness down, flow down. I'm gonna go ahead and increased spacing just a little bit, and then I'm gonna want on the blending mode. I'm gonna want to try a multiply so we'll see what happens now. Dynamics. I like to keep my size up my accumulation. Certainly. I want to be up on a smoke brush. That is true. We're going to control that via pressure. And then I want my hardness to stay down. That's true. My saturation. I'm gonna want that to stay, and I'm gonna want to probably control that through pressure and the flow. I wanted to stay where I'm at. All right, Now, let's see what we got here. We're coming down to the smoke again. Smoke is not red, so let's see what we got here. We're gonna crank that up. I think we're ready to start trialling. Oh, that is nice. All right, We're going to shrink that down even a little bit. I think we're a little bit too much. Oh, yeah. Look at that. And the harder I press, the more saturation we get. The lighter repress, the less saturation we get. Now, I come over here. How is this gonna look? Is this blending the way that I want to? Oh, yeah. That's gonna work out real nice. Yep. You see, I'm kind of letting go here in terms of what we're going to do once you get the smoke, the way you want it on the first layer, right? Smoke ebbs and flows through. There's a whole technique to this. I'm very happy with that. I think we've got a good smoke brush. Let's go ahead, take the next step and we'll talk about the blurring and sharpening portions. All right, we'll see the next one 5. smudging and blurring : Nara gang. Welcome to our lesson on the smudge brush. This is gonna be a real short one. But I'll tell you, one of my favorite things to do is just sit down, make some pixels with the paint and then work exclusively with the smudge brush to see what it wants to be. Because you can craft some amazing realism with the smudge brush. Too lonely. So let's go ahead and take a look at how it works. To find the smudge brush, you're gonna be in the pixel persona. You're going to make sure you've got your brush selected, and then let's grab a brush that we've all got. We're gonna go ahead. We're gonna grab Oh, I don't know this large ink pen. So let's go ahead and grab the large ink pen and I'm gonna work in red simply so that I can illustrate this better, and I'm gonna blow this size up a little bit and I'm just gonna put some ink on the page now it doesn't matter where you put it. The technique is 110% the same. Now let's grab these smudge brush tool. Now let's look at the context Toolbar For a minute you've got width of the smudge brush. So you turned down the with. It works exactly like a paintbrush. You see how it's pulling out? You've got flow. So if I turn the flow all the way up see how it smudges so much further and again, flow is the amount of pixel. It's applied to the amount of strength it supplied. Each time you touch the page and then with strength. When you turn this bad boy all the way up, you see how it cuts in. So high strength creates a pretty substantial cut. Now watch this. The smudge tool goes. Either way, I can pull from the read out just like that, or I can pull from the white in. So it goes both ways. Now, I'm gonna go ahead and turn this strength down because it's a little bit ridiculous. And then I'm gonna go ahead here and I'm gonna go ahead and choose another brush here. Let's go. Oh, with the smudge tool, let's go ahead and go to cancel and we'll grab into the brush. Now you see how that changed in my context, two of our you can use the same sorts of brushes that you would for inking as smudges. Now, to show you, this will go to the standard oil in acrylics, which we all have, and you see down in my context, toolbar. Now it's got that pattern and look at the smudge that's created. This is pretty cool. So you could do a lot of really cool stuff with this. I'm gonna go ahead and crank this up, and you can make some designs that you maybe didn't even think of when you started doing it . You start thinking about it and you're like, Okay, how does this kind of look? So you could bring this any way you want? I use smudge a lot when I'm looking for kind of an inspiration feel or also we're gonna use it in our smoking are flames. So this is what smudge does. And then again, it comes from the outside into you can crank up the strength. You can crank down the strength and it will be very, very subtle so you can push the entire thing over. All right, that's it. I want to do to three minutes on the smudge brush. Let's get into a project and show you how all of this comes together in the pixel persona. All right, seeing the next one. 6. Setting up the candle project : All right, let's go ahead and get into a project here in this PICS lesson. So we're gonna go ahead. We're gonna open up, affinity designer, and I've got a 1920 by 10 80 workspace. The workspace size folks doesn't really matter in this project. You're not gonna consume all of it. This just happened to you What I had open. So we're gonna make this really cool, luminescent type of candle effect. So let's go ahead. And contrary to pixel persona, let's go ahead and start with Vector Art. So let's go ahead and make a rectangle, and then we're gonna change the corners over to round. All right, Perfect. I'm gonna position this bad boy right about here. Now, we're also going to grab to tear shape pieces. So let's go ahead and grab to tears and let's shift them over. Because while we can, and then we're gonna come up and we're gonna place them on the side of this thing here. And then I'm going to hit the three dots and I'm going to duplicate and I'm gonna shrink it down so that we get a little bit of interest. Okay, that looks pretty good. to me. So let's take a look at our layer structure. Tear, tear, rounded rectangle Sounds good to me, Grabem. And then you're going to come up and you're going to perform an addition. Operation Power. That gives us the basis for our candle. Now, in order to make this work, let's now go to the pixel persona and what we're going to do. We're gonna go ahead upto layers were at a pixel air right there. We're gonna come to our flood fill, and then we're going to come to our black. So once I get here, if I hit the flood, fill, tool it. Flood feels black, and then I drag it down below my candle. Alright, Looks pretty good so far. Now, let's set up a rough palette for this. We come to the color, we come to this watches we hit the three dots, and we add a document palette. All right, let's go ahead and rename the palate. Let's call it candle palette. All right. Sounds good. Now I'm going to go ahead and I'm going to grab my candle. And with that color selected of red, you don't have to use this color red we can use any color of red. I'm going to add the current fill to the palate, but I actually want to do a different color. Red ideo. I think I want to do something right about there may be a little more saturated. I think that that's probably a nice, better read. All right, back to here and we add the current field of the palate. Now, we're gonna be able to pull the same type of red all day every day. All right, Step one. Done. Step to now, we've got to come into the layer structure here, and we've got to create a pixel air and we're gonna drag the pixel air down inside the candle. And you've seen this show 101 times. And then what we're going to do here is we're going to work in some grays and we're going to change the blend lair on the mode so would come over to the three dots to multiply. We're gonna grab the color here, come down over here, and then what we're going to do, we're gonna grab this texture that we made you remember the texture brush that you made earlier go ahead and turn this bad boy down on a crank. Theo, Opacity down. We're going to see what happens. Okay, so we're just kind of putting a little bit of texture down inside this thing here. Now, if you don't like that, we go with a little bit darker, deeper type of red. Let's see what we got. And then if you wanted to, you could crank it up a little bit, keep the flow down low, and we could add a texture into the candle. Yeah, that's beginning to build. Really nice. I kind of like that. So the texture brush that you made is absolutely paying dividends. Right now, folks, this is gonna look really cool to get some reflected light on it. Okay, so we got a good start to that. Now, what I might do here with this layer, I might crank down the opacity ever so slightly because it is a little bit bold. I think that's probably where I want to be. And then what I'm going to do, I'm gonna add one more pixel air. So let's go ahead and add one more. And this one's going to be kind of the shadow area. Now, this is gonna be around candle rights. We have to kind of dictate what's in front of what and what's behind what, So to do that there is no better brush in my opinion than the ever trusty airbrush. So let's go ahead. Find our sprays and spatters. Let's go over here and airbrush four is my normal Go to. Now. What we're going to do is on going to go through, and I'm going to just start etching in along this side now to do this. I've got this pixel layer on here. I'm gonna go ahead and I'm gonna turn it over to a multiply again and see how it's beginning to develop. Kind of a hard line there. That's exactly what I want. Because remember, when the light plays off it, there's going to be some reflected light. There's going to be some hard light now I'm gonna crank of the opacity a little bit on this . You see how now a little goes a long way on that? Don't get too crazy. Okay, so now these drips, the drips have a shadow. And then lastly here, in order to kind of start to stop this video, We're gonna go ahead and we're gonna turn this down a little bit. And I'm going to put a little bit of shading here around the rim of the candle because it's a candle burns down with the wick, right? You've got a little rim that comes up around it that I crank it up a little bit. Now I want to crank down that opacity a little bit, Crank up the size just slightly, and you see how the textures playing right in underneath this multiply layer is pretty cool . Okay, now, the last thing before this video runs a little bit long, let's go ahead and add one more layer, one more pixel air, and then what we're going to do is we're going to go ahead and we're gonna put in kind of a white Look. Now, this isn't going to be terribly white. This is kind of gonna be an off pinkish red. And what I'm going to do here, I'm going to change the blend mode of that layer to let's try a screen Now, depending on the color, depending on the luminosity, we may have to make some adjustments, so don't quote me on that. I reserve the right to change my mind here pretty quick. And just along this rim, you see along that outside edge what it's doing. That's actually pretty cool. Okay, now, with the drops were gonna turn up the opacity just slightly because those drips those drops should ideally have some sort of reflection. Now, I'm not going to do a full reflection on him because I'm not ready yet. I want to see how the light really plays on this. And then along this rim, I'm going to go ahead and just touched down with a little bit of this off red. See how that texture brush that you guys used is absolutely phenomenal. This thing is so curvy, you could almost reach out and touch it. All right? I want to go ahead and stop there. A little goes a long way. And believe me, I could do some serious damage with it. Let's go ahead, take the next step in the next video and I'll show you how to create the flame 7. Making the flame : All right, welcome back to candle projects. So we're gonna now take this candle that you've been working on in the last lesson and we're gonna add a flame. Now you've already built the flame brush, so let's go ahead and let's go ahead and come up here and let's go ahead and add a pixel there. Going to come up with him in a at a pixel there. Don't bring it down to the curve there. And now we're gonna go ahead and we're gonna come over to our brushes. So I make sure my brush selected. And now wherever it is that you held this brush, I've got mine here. I called it luminosity, Flame one. You made it in the last lessons. And now let's go ahead and crank it up a bit. Now I'm gonna start in the middle of the orange so you won't kind of want something in the middle. You don't want it really, really yellow because with the blend mode that we set in the brush, it's gonna do its thing. So let's go ahead now, making sure that we're on the pixel air. Let's go ahead and zoom on in and now, we're just gonna go ahead and you see the additive nature of the flame so you can do as much as you want or as little as you want. And you see, the more you apply at the whiter gets along that edge. Now, if you wanted to go a step further, you know he's come down here, we can go up to the yellow and you can put in some lighter areas and then you could bring in some whites. Also, if you wanted to use them sparingly and now we're gonna go ahead and I'm just gonna take my smudge to a little bit here. I'm gonna zoom on in here the whites a little bit too much for me right now. I'm gonna come in here and I'm just gonna brush those along. I'm gonna go ahead and turn down the flow quite a bit. And remember, Smudge works both ways, right? So you can absolutely smudge from the inside out or the outside in. We have an entire lesson on this smudge tool here, so I'm not gonna spend too much time with it, okay? And you go until you get it kind of the way you want it. You see how your kind of able to get this really cool effect. So it's a combination of the flame along with the right smudge brush. Now, let's go ahead and smudge that down into here. All right? We're going Bring that just a little bit further here. All right? So you do it until you happy with it. I'm relatively happy with that. Now, what I'm gonna do now is I need to create a wick. So to do that part, I come down here and I had a new pixel later, and I'm gonna bring this layer down below the flame because Wicks obviously live below the flame. And I'm just gonna grab a standard brush. We're gonna go ahead. I'm gonna grab who? Let's grab a pen. Let's grab. Um, this felt pen here. Just any old pen will work. Just go out and crank the size of a little bit. Make sure you got the black selected now with your brush selected. Let's go ahead and zip that down a little bit on a zoom on in here. Okay? Now, why isn't that working right? Because it's below the flames. So what we're gonna have to do. I would have to come up above the flame now and you see, we got a little bit too aggressive with it. So let's go ahead and erase for that bad boy out a little bit. Come over to my eraser tool zipped down the size of a little bit. All right, We're just gonna go ahead and just take it out a little bit. Now watch this. All right, So now we're coming up here again, and we're gonna come up, and we're gonna put in a little bit of a wick. Now, I'm gonna break this out a little bit. I'm gonna come up here. I'm gonna change up the opacity a little bit on the layer, so we're pretty good shape there. And then I'm going to really kind of smudge that in there now to get that the way we want it. Come over here to this smudge tool. Crank that down a little bit here and now in a break up the pattern a little bit. All right, So I think we're in pretty good shape there. Let's go ahead now. One more thing. Let's go ahead and play the blend mode. Game. So with the pixel air selected, make sure we got the right layer selected. We're gonna come over here and we're going to start changing a blend modes. All right. I really like that overlay. Let's see, we got here. That's a little bit too aggressive. We'll go with that overlay effect. I really like that. So I think that we're pretty good on that one. What I might do here just kind of go one step further. Let's go ahead and add one more pixel air using you can't leave well enough alone. Right? Come over here to the black. We're here with smudge. All right, so I think we're pretty good here. The last thing that I want to do. Let's go ahead. Take all of these down. Grab all of them here. Should we get that? And let's go ahead and drop this candle down now so that we can make this actually happen. Leave enough room with smoke in the next one. Alright, folks, let's go ahead and call it there. Hope you learned a little bit about how to do flame. Use that flame brush that you made and we took a look at blood modes on the wick. All right, folks, have a good one. We'll see the next one 8. Adding smoke : All right, folks. Welcome back to the candle project. So in the last lesson we put this flame on, we put a really cool wick on using color burn as a blend mode, and we've got this candle thing. This thing is frickin awesome, right? This thing is sweet. All right, so let's go ahead now and make some smoke. Now, this is just again my smoke method. There are 101 different ways to do this. Turn down my layers. I'm gonna begin with the pixel air. And then what I'm going to do is I'm gonna come over brushes and you and I, we made a smoke brush. Right? So we go to trial. Yep. Smoke brush. Beautiful. And now you never quite know what these things are going to do. So you got a trial and error in? I tend to do smoke in two layers. And the reason is because smoke intertwines with one another. So my first layer is a little bit darker than my second layer. So let me kind of go through and show you how I do this. This first layer smoke, I'll say, is gonna be right about here. about halfway. Right. So we grabbed the brush. Now I'm gonna turn down my opacity again. I don't want a bunch of capacity. I'm gonna go ahead and crank this down because I think it may be a little bit over large. And then what we're gonna dio is I'm going to get an idea of how it looks now. It's looking really good. We want some of the smoke wisps coming off the peace. Some of the smoke we want coming around this part. We want some big smoke coming out. And one of the reasons why I really want to control both the opacity and the saturation of the smoke is because you wanted to kind of change. Now you noticed some is above some is below. That's fine. Okay. Now, without blending it, I'm gonna go to a new layer. I'm gonna go to the pixel air, and then I'm gonna change my color up. I'm gonna use the same brush, so I get continuity, and I'm just going to be just that side of perfect white. You see where I am? All right. Now I'm gonna run a little bit contrary to these areas, so this is in an attempt to get the smoke to kind of go inside outside, run it down a little ways. All right? I think we're pretty good there. I'm pretty happy with that. Now, here's the trick. I'm gonna go ahead and check out blend modes. I just kind of want to see what happens again. Blend modes. You're never too good, Adam to kind of see what they might surprise you with. There are ways that this can absolutely surprise you, and sometimes you find a combination that she didn't necessarily expect. Like, that linear light just took it and kicked it up a little bit. Now, let's go ahead one more time, and I'm gonna do the same blend mode evaluation with my lower pixel air. I want to see what it does mainly with the flame. I was happy with it before. It doesn't look like I'm gonna have much, much success with it, But you never know actually like that. All right. I don't think the blend modes made a tremendous amount of difference, but I'll take it all right now, the smudge brush tool, This one is awesome. Okay, now, I usually start with my top layer and then for my smudge brush tool. I don't want this brush back. I want Let's see. What do I want? I'm gonna go ahead. I'm gonna try this dry flat gals brush. Now let's crank up the flow. It's pulled the strength which layer my on I'm on the background. That's why it's not pulling the foreground. There we go, and then you can whisper it out. And now you see these big areas here on the side. I'm just going to take it. I'm gonna crank the strength up to 100 and then I'm going to make it all come together. You see kind of what I'm doing there. That's the trick to break in this thing up. So if you have to absolutely turn up the strength and go to town now, once you've got a kind of where you want it, swap over to the back layer. Let's go ahead and kick this up a notch and then bring the back layer around doing kind of the same thing. You see the blend modes do some interesting things. Then once I get that the way that I want it, I want to go to the old standby. Yeah, I can't help it. I'm going with the airbrush because it gives you a really nice move out. All right, we're gonna go here. I'm gonna go to that pixel air turned down this string turned down the flow there we dio Yeah, they see how that combination of that KAOS brush plus this brush actually created the effect that we're looking at. And you really can't get this with one layer of smoke. It just doesn't work. So I'm gonna cut through that way. That's one of the reasons why I always do two layers. Now you see, over on the right hand side here on the side of the flame, upper right hand side. I left some space. I don't want to crowd the flame too much with smoke, because if not, it looks like we're going right from the smoke right into the flame. I want to leave a little bit of room for the white highlight that I'm gonna create. And you see how changing this brush over after going through and doing the first pass changed it substantially. All right, One last thing here and we're running at about seven minutes. I don't want to take too long here with you. We're just gonna crank this up one more time here, and I'm going to see how far I can pull some of this stuff. Go ahead and crank up the flow quite a bit. And you see how I'm deciding how far I can really pull it. Ah, look over to the right hand side out farm. Going with this. That's what's up. See how far we can go today? All right, so I like that. That's my method for doing smoke. Definitely two layers, definitely Amid great and a light grade. The blend modes aren't necessarily important, but I do find that if I only use the airbrush and I don't go through text during the smoke first, it is definitely not as believable going into the next phase. All right, let's go ahead and go into the next phase and I'll show you how to do all the reflected light for this will finish up the project seeing the next one 9. Adding the lighting effects: Alright, folks, let's go ahead and get on a part 44 making this very simple candle here. So now when we have light that kind of throws something against the back wall, you can absolutely do the same sorts of effects that we've been using in the pixel layer to make that happen. So we're gonna go up here and we're going to drop down to that background there and where they add a new pixel air around it. Now, when we do this, the brush that I'm going to use more than any other one, the one that I use more often than any other brush is the airbrush. Now, when we do this, what I want to do is I want to kind of make it a little more intense. The closer it gets to the glow and a little bit more faded, the further against my glow So I'm gonna do here is I'm going to go very, very dark, almost black. I'm gonna crank up the sides of this brush and I'm gonna leave the opacity right about where it is. And so you see the effect that begins toe happen here. Now it's a very subtle effect. But you see the brown that's beginning to come alive here. Somebody asked me on Facebook the other day how I did the backgrounds when I was kind of getting ready to do this. And this is exactly how it's a very subtle effect. And then you just start moving a little closer toward opacity each time. But I'm gonna crank down the opacity, and you kind of see now the orange that's created you don't want too much of it now, right? Little goes a long way, and then you kind of crank this thing down a little bit more, and the closer you get, the more you kind of crank the opacity down. Because now you just really want to touch in certain areas on this. Now we're gonna go ahead and I'm gonna swab over a kind of a yellowish color here. I'm gonna kick the opacity. Almost nothing. If I could have a nothing setting, it would definitely be there. Okay, let's go ahead and crank this down even further. And you see how I'm just touching in this area here now, once I find kind of a look that I like like that what I'm gonna do now is I'm going to add another layer and I'm gonna add it into the candle. So I'm gonna come down to the candle. I'm gonna come down to the last layer I used gonna add in a pixel air And now with this layer selected, I'm going to work in kind of a very, very light orange. So we're gonna come down, find the orange and I think we're right about here. We're gonna zoom in on the candle. Now, where would that light be? Hitting. Let's go ahead and zoom are brushed down a little bit. The light would be hitting right about in here. So now that might be a little bit thin with the opacity there. Let's go ahead and crank it up a notch. There we go. Now you see that yellow or that orange begin to kind of take shape. So if you do this right, crank the A pass ity back Justice Kohsh, You can absolutely reflect the light that you want to reflect on it. Now you see, I'm not interfering with the pinks. The light that I'm reflecting off is just around this tip here. So That's part of the illusion there. You've got to be able to blend it through. And then when we get a little bit closer, we can move over here, come in here and let's zip this thing down even further. Now let's play a blend mode game. Let's go ahead and come on over here. Well, before we do that, let's go ahead and finish this here because I want to use this over here. Turn this down. I'm almost gonna go pure white just along this side. All right? That actually looks really cool. I'm very happy with that. All right, So now let's play the blend mode game here on the candle. I can come over here and we can play with some different blend modes to see what the effect is going to be. Lighten, that's a no brainer screen, actually lightens it a little bit, but kind of washes it out. You see how it's screened, But now this is a little bit more orange, so I'm gonna keep it with screen, kind of like the color dodge layer there. That's kind of an interesting effect. I think I'm happiest with the ad right here. So I'm gonna go ahead and keep that at an ad type of blend mode. So I think then, for the most part, were almost completely done here. You can go through and pick this thing around two ways from Sunday. What I might do here just to kind of touch up, I might with this layer still selected in the white color selected crank up my brush a little bit and add a little bit to the middle of that candle. And then I might go ahead with my brush selected, move it down, crank the opacity up just slightly. I might just hugged the edge of that candle just to see what I could get away with. See what I can do here with that area. Now, my mentor always told me one of the best piece of advice I ever got was when you're done with the project, when you think you're done with a project, see if you can make the top 10% 10% lighter and the bottom 10% 10% darker. It really does change the contrast quite a bit when you're working in art. So that's something that I've kept with me my whole career and turns out it is kind of show me to be true time and time again. So I try to live by that every time. I do piece of art. So I'm finding the top 10% of the values. Finally, the bottom 10% of values and I'm seeing what I can do. Now let's say you overshot on a side note on that background, you can always come back around, turn back to black, crank up the size, and then you can come back in, and you can always undo what you might have overdone. All right, folks, hope you learned a little bit about the pixel persona. Hope you had a good time. I hope you've got something that really kind of shows you. You absolutely can do this. This three dimensional pixel art We started with a vector. You made every brush that was there. You've got all the tools in your toolbox. So let's go ahead now and take the next step. Let's end the pixel persona discussion in the next video and then we'll go from there. All right, See the next one