Concept Design: From Silhouette Exploration to Final Design Rendering | Marouane Bembli | Skillshare

Concept Design: From Silhouette Exploration to Final Design Rendering

Marouane Bembli, Design Professional & Online Teacher

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13 Lessons (1h 14m)
    • 1. Introduction - Course overview

      1:23
    • 2. Fill up that canvas! No rules

      7:27
    • 3. Initial shading of silhouettes

      7:58
    • 4. Adding a backdrop & highlights - How to add depth to your sketch

      6:11
    • 5. Bringing your vision to life with simple brush techiques

      6:36
    • 6. Defining your concept design

      12:58
    • 7. Adjusting our perspective - Adjust as you go, or "AAYG"

      3:57
    • 8. Surfacing - Design surface features

      9:00
    • 9. Quick trick to check your perspective

      1:29
    • 10. Let there be light! Here's how to add glowing LEDs & lasers

      8:31
    • 11. Lens Flare Madness Let's make it shine

      1:15
    • 12. 3 final tricks you don't want to miss before calling it done

      4:28
    • 13. Class Project!

      2:28

About This Class

Hi, I'm Marouane, industrial designer originally from Stockholm, Sweden, now living and working in South Florida.

In this course, I want to show you a new way of exploring shapes and concept designs using Photoshop. I'd like you to remove all rules and regulations about design and let your creativity flow free. In this class, we are going to give the blank canvas a purpose without holding anything back.

Who is this course for?

This course is for you who want to develop your concept art skills and learn how to think creatively. 

What will I learn in this course?

You will learn how to tackle a blank canvas. I know this can be intimitading, not knowing where to start. You will learn how to explore shapes using silhouettes, shading & rendering with basic bruses, adding highlights, rendering and visualizing light such as LEDs and glowing surfaces and much more.

You will also learn the 3 tricks I use on most of my sketches as a final touch to make them look crisp like they're popping out of the screen.

Make sure you download the attached .psd file of the spaceship we sketched in this class!

Thank you for taking interest in my course, I hope to see you inside.

Your instructor,

Marouane

Transcripts

1. Introduction - Course overview: Hey, you! Welcome to this course. My name is Maram Bamboo, and this class is going to be all about unleashing your creativity inside a photo shop. You see, I'm an industrial designer and what we do on a daily basis is designed stuff that need boundaries and rules and all of this because we have the manufacturing costs and we have the material costs of the timelines and funders and all of this. So what I want to do in this class is to remove all of those rules and boundaries and just go crazy inside a photo shop. Just have fun. So what we're gonna do, we gonna explore some shapes using just a simple brush brush set you can download inside the class and then we're going to start exploring different silhouettes and shapes and see what we come up with and then go into shading viola silhouettes using airbrush and it raising a couple cool brushes that you can try out yourself. And by the end of this course, I want you to have some sort of shape that is shaded and rendered in Photoshopped that you came up with from using these techniques that I'm gonna walk you through in this class. It's all about having fun. It's all about letting the boundaries drop. If you're a designer, you know exactly what I'm talking about. And even if you're not a designer, this is like an introduction course to concept art Photoshopped so hope to see you inside. My name is Marlon Family. Now let's get sketching. 2. Fill up that canvas! No rules: Hey, Mom, remember here and a big welcome to this class where we are going to explore or creativity in photo shop. I'm an industrial designer, and as I mentioned in the intro, we have a lot of boundaries when it comes to what we can sketch and how we can sketch it and how it's going to be manufactured and the cost of things. And there's just a lot of things that just puts kind of puts a hold on your creativity. So sometimes when I get home, I kind of feel like I want to sketch something just out off. You know what's in my head, and I want to put it on paper or in photo shop, and that's when I come up with these blobs. Basically, I she has to go crazy inside a photo shop. I use a massive black brush like a hard, almost like an ink brush, so I'm gonna show you soon, and I use my tablets tablet, which looks like this. It's an old wake up into this three tablet, and it works great. If you don't have one of these, you can get them on eBay or Amazon for pretty pretty cheap. I don't wanna say a number because it's probably gonna change, but definitely look into these. They're really cool and definitely doable because I've had this since 2000 and eight, and it's still going working fine. So as I said, I wanna jump into this with an open mind and show you how to unleash your creativity and naturally put any boundaries on yourself. So the first thing we want to do is to create a new document. So we wanted to be big enough for us to really Explorer the canvas and allow us some space . So I'm gonna make it 251,800 pixels. That's that's good enough 150 dp. I sounds good to Okay, So when we're presented with this a blank sheet of paper here, I know it can be intimidating. Teoh start because it's kind of hard to figure out what to do and where to go from here, because it's absolutely nothing. And we need to fill it with something. So what I want to do, I want to create a new layer, and I want to select a brush that is, by the way, this these brushes all of these. This brush set is available for you to download in the class description. So make sure you do that. If you wanna have all these cool brushes, there have some really cool ones. So what this does, the harder you press, the bigger the diameter. But it's still a completely 100% black brush. And why I want to use this. It allows me to just make a few gloves and silhouettes like I'm doing right now. I don't have any pressure. I don't put any pressure myself, too. Make it look like a product or anything. Really. I just want to make a few silhouettes on a brand new layer, because when I do this, I fill that I fill up the canvas, and I started getting more comfortable with, you know, exploring exploring the silhouettes at a later stage. But first of all, I just want to put something down on the campus so that we, uh, at least get started. That's the whole idea with this exercise, so just go crazy and make a few lines, few shapes. If you want to do it in perspective, you can do that if you want to keep it simple and make it like inside V or a front view or whatever view you want. You can do that. Okay, maybe we can make something that's more vertical in its shape. I just love this brush because it's really great. Teoh sketched down ideas with because you get the high contrast immediately because it's a 100% black. And you can also make the details like these. If you just by just pressing gently on the tablet and not make it go all the way like that , it's just a cool brush you could make. You can do a lot of cool stuff with it. This could possibly be something or become something cool. If we make some holes in here, maybe, and I'm picking either black or white by holding my ault key. And the old key will give you the color picker Zaken, pick whatever color you're hovering over and then just quick and you're gonna select and I want to select black here and make it a few shapes like this. This I like this shape right here that's coming together here. I don't know what it is yet, but it looks kind of cool and wanna continue to explore it and see where we can take it. The cool thing with concept art like this or whatever art just painting is that this is probably never going to be manufactured. So you don't have to think about all the things that we usually think about as designers. The material. What kind of material is going to be made out off? Uh, what kind off manufacturing methods we're gonna use and stuff like that that just are necessary, of course. But they and you, Yes, you have to be creative because you have to be created to come up with solutions because you might want a shape, but it's going to be too expensive to were manufactured. Then you have to get creative, come up with ideas on how you can do it anyway within the budget. So that's part of being a designer. But with concept art, you can just go crazy and do whatever you want, because none of this is ever going to be manufactured. So I hope this first video made sense. What we have here we have a few civil lets off random shapes. That don't mean anything right now. But what we're gonna do in the next video we're gonna start to We're gonna take this campus and that start to add some shading onto these shapes and see what we come up with. I would say that's when the fun starts, so I'll see you in the next video. 3. Initial shading of silhouettes: All right, so let's continue our journey towards an unknown destination. So I'm making a new layer now, and we're gonna add some shades to this to this main shape here, which is let me let me show you exactly what shape I'm talking about. This shape right here that is outlined in red. That's the one I'm going to focus on. And that's the one I'm going to start shading that. So the brush I'm gonna use now is a pressure sensitive rush. And it looks like this the diameter is still the same even though you press know, regardless of how hard you press. But the thing that changes is the opacity. So if I press hard, you see, we get almost yeah, we get completely white, and the gentler I go, the gentler Is that even a word? But the let's I press the, uh, less capacity we have. So what we want to do now we want to start to create some surfacing in this designed. So I'm using a hard razor, which which is basically a hard, round razor to raise the surfaces that I don't need. And I want this to be kind of like a shell of some sort. So I'm mixing airbrush, uh, the pressure sensitive brush with a heart of razors. Right now I'm going over to the airbrush and I want to smooth out the outline on the other side of this shape. Something like that. And the thing here, guys, is to create new layers when you feel like, um, you when you feel like there is a need for a new layer, If you don't want to mess any of this up, then it's time to create a new layer. So we have this lock now. We can't touch any of these. I'm using the razor now, but it's in the other layer. So we're all good to create to start creating ah, shading some more. Some you still using the airbrush here? And the whole idea here is to explore what works and what doesn't. Some jumping back and forth, I'm hitting E for a razor, which is right here, and I'm hating be to go back to my brush. So I have my fingers on the keyboard at all times, and I'm just playing around trying to figure out what I want this to be and Now I'm using the airbrush razor because I wanna have a smooth, great end here and not a, um, sharp line like this one down here. I think I'm happy with that. So let's going to a new layer and I'm gonna select a brush like not that one, this one that is both sensitive in opacity and diameter. So the harder you press, the bigger the diameter and the brighter the brush. So I want to use this to go in and create some highlights on these things that are down here. So just go in and think of them as. Or at least I'm thinking of these ads, wires or some sort of skeleton that's underneath these, uh, the shell. Just to explore and see where that is going to take us. We can always go back. That's the beauty of digital sketching. We don't have to worry about making mistakes. If we make a mistake, when we have to do is the lead the layer. So I want to make a few highlights here. And by the way, as I say in all my classes, you always have to keep in mind where the light source Yes, So knowing where your light sources is going to help you in so many ways, it's going to guide your sketching. And it's going Teoh basically tell you where to put highlights and where to put shadows right now or my If you say my standard, Um, my standard. Ah, light source direction. It's somewhere from here. So the sun is up here. That means that the top of this area is going to be the brightest. And then we have some highlights off things that sticking out down here that are being hit by the sun or the limp, the lights that is above this thing. And I always keep that in mind no matter what. So here we have a few highlights. I'm gonna continue and add some more, just sketching freely and exploring this shape right here. I'm zooming in and out as I go along as well. So I want to add, I think this shell here is a bit too. Um, it's not exciting enough because it's such a big shell and nothing is really going on here . It's just a massive surface. So what I want to do, I want to break this surface up with a section or parting line that goes right in the middle here. So what I want to do is making new layer select black and maybe 22 pixels and then just go through this with a black brush. Just add a parting line inside there. If you want, you can delete the line. That's that's going outside off the shape. Something like that. I think it already looks a lot more interesting. If you want, you can start to make some outlines, Um, or you can skip it and have a cleaner look with less with lesser lines. What? Sometimes it's good to just have some outlines to define where the shape is ending. From here. I want to make a new layer, so I'm gonna make a back drop. I don't want the background to be white. So in the next video, we're gonna go into even deeper shading, and I'm gonna show you how to make a backdrop and make this, um, silhouette line or the the line where the product is ending or the sketches ending. I'm gonna make this white and glossy, so that's gonna look really cool against a darker backdrop. So I'll see you in the next video 4. Adding a backdrop & highlights - How to add depth to your sketch: Okay, So here's what I want to do. Now I want to add some more depth to this sketch, and I want to do that by adding a backdrop, or I want to make the background a bit darker so that I can use highlights to make this sketch stand out from the background. So that's what I'm gonna do. Now I'm making a new layer. This is completely empty. Layer number six here. And let's see you want to use, uh I think I'm gonna use the airbrush to make the backdrop and the backdrop doesn't have to be complicated at all. All it has to be he's basically just something like this, and all of a sudden you can see immediately that it's getting it's giving everything a bit more dramatic, a dramatic vibe. And I don't want to go all the way to black because I want to use black as a shade as well to Orender with. So I'm gonna keep it closer to black, then white. But still, it's a great home, and I'm happy without so I'm gonna make a new layer and what I'm gonna do now. So remember I told you I wanted to have the the edge here to be white sold that meaning that there is some sort of light coming from here. And that means that this edge here is going to be white. But, you know, if I sketch it like this is going to look weird, it's not gonna look good. So what I want to do, I'm still using the airbrush and I mean, I any new layer now. So I'm gonna go over this with the airbrush right where the, uh, this thing ends, and then I'm going to jump into using a hard A razor and using this harder razor, I will. I will define the outline off this thing here. So I'm just gonna go all the way around the edge and it raised whatever I don't need and then back to the airbrush and start to make Let's see if this will work, that looks pretty pretty cool. I think something like that I smooth a smooth the reflection there, still showing that there's some light coming from this way from behind us and maybe add some highlights here. Let's see. Let's see what happens. Zoom in. Might warrant might not the only way to know is too. Try it out. So I'm adding a highlight along this edge here. Hmm. Ah, maybe, maybe not. I'll keep it for now. I guess I can always come back and change it later if I want to. Oops. I was wrong. Wrong tool. I think it was cool. Son and I had the same highlight on this edge here. Because if you think about it, if one edge, it's facing a specific direction. So these two edges here, this one and this one, they are both facing this way, right? So that means that if this line here has a hollow highlight, then this should have a highlight to, because the same light is hitting this edge that is hitting the 1st 1 because they're phasing facing in the same direction. So they're getting hit by the same lights. Worse, I hope that made sense. If you have any questions throughout the course, Uh, I'm always available in the discussions and the Cuban Any sections. So And I'm always happy to answer any questions you might have in there because I love talk about talk about stuff like this shading and highlighting and everything in between. So right now I'm just exploring with different reflections If I want to keep them or not, Some using a pressurized white brush Looks like this. Just Teoh, Check out if I want to add some highlights somewhere, maybe maybe one that goes in between here inside of this section line so you can see that I I choose one spot off each line to really press hard on, because that that's going to create a burn point. And that's what I'm doing right here. You see this burn point here? And what that does is it gives us a, uh he gives us the impression that the material is shiny, almost like metal, because mental has very strong reflections and highlights and burnt points. Exactly. Like this one right here. And that one over there. We're gonna make more of those as we go. And you see this? This area right here, let me show you this one. I think this looks really cool. And we can make something out of this, maybe like a fender or, um, I don't know. I want to explore it because I think it fits with the general shape here, so That's what we're gonna do in the next video. We're gonna jump in. I'm going to use some cool brushes that are in the pack that you can download. And I'm gonna go in and try and make this look cool. Salty you in the next video. 5. Bringing your vision to life with simple brush techiques: All right, so check this out. I wanna continue. Teoh, explore this shape right here because I think it looks cool. So what I'm gonna dio, as usual, This is what we need in the last video, by the way. So this layer right here, we added the way out of the backdrop just a black hair brush on a new layer and then created a later number seven added some highlights just to make it pop just to make some definition of this shape and see what it is. We're actually sketching here, because right now, I still don't know, but it's it looks cool. It looks like some sort of alien spaceship. Maybe. And we're gonna continue on that path. So making new layer. And now I'm gonna select not a standard brush. Let's see. Yep. I think it's It's kind of like a flat brush that makes him really cool. Ah, it's easy to make some flat surfaces with it. Basically, I'm trying to find which one it is because I have so many of them. Uh, let's use this one. Yeah, like school. So I want to fill this panel in real fast, and I'm using a new layer. If you want, you can rotate this. You see, the, uh the angle of the brush changes with this little thing right here. And I want to keep it something like this, so I can just feel this in real fast. And there you go. I'm happy with that. Just just one stroke like this and you have an entire new shape. So we have to do that. I wanna have it symmetrical. So I'm going to do something similar on the other side as well. I'm gonna change the angle in the brush, See what happens when we do this. If it looks cooler out, that's the whole. That's the goal here to make something look cool. That's what we want. I think that that looks really cool. It just looks nice and symmetrical and just evil basically. And let's see if we can maybe add some stuff in here. I just want to show you the process when I sketch How I how I come up with shapes and what I do with the shapes when I come up with them. That's the That's kind of the point with this classes just to get your creativity going and not really over Think stuff. Because I think when you when you think too much about to something, you make it you make it too big of ah thing in your head. And then he just gets really tough to just get started. And if you just get started like we did in the beginning of this class, just by putting down some stuff like this right here and from there, just have fun and play with different shapes that you come up with, just like I'm doing right now. I'm just adding random stuff here and see what? What? You know, I have I have a vision in my head right now because we are at that point where I can kind of see where this is going, and I don't know if you can see it. Um, right now, but for me, this looks like a spaceship. So we have the the main Let me make a new layer and show. You try to explain what I see here. So I see his face ship, and this is the main body off the spaceship. So inside here, this is like a big brain or something like that. And ah, these are the maneuver. So when the enter our atmosphere, they need to maneuver these things right here, These panels or whatever, are gonna help the maneuver down to Earth and come down and say hi. So that's what these air for and all of this. This is like a exo skeleton thing that wraps around this thing. And you have wires. We can We're gonna make some wires later on. I don't and I have no idea what they're four, but it just looks cool. That's the whole point with this. So that's what I'm gonna go with now. So I'm gonna continue on the vision that I have and make somewhat wires down here using a standard brush just connecting those things there, putting some random lines in here. And I can Honestly, I can't wait to highlight this Finn or this panel right here, water or whatever you wanna call it. That's gonna be super fun. So it's and I'm adding highlights. Now I'm gonna start start to started Explorer what I can do with this. So in the next video, we're going to go into details and really get going with adding these white dots everywhere and make it shiny. You can already see that it's starting to look shiny by just adding this brush. Looks like it's just a white brush with a full opacity. And the only thing that's changing the harder oppresses the diameter of the brush. And if we want later on, I'm gonna go over this with some airbrush white airbrush. And the final touch we're gonna do is I'm not gonna tell you. You're just gonna have to wait and see it because it's a really cool trick that makes the whole sketch pop. As a final step, I might add a section line here. It looks cool. Let's do that. Let's see where that gets us. Nice. I like it. I'm gonna keep it. This is kind of a too big of a surface for me right here. Nothing is going on here. It's kind of boring. I might keep it. I might do something about it. We'll see. Okay, so in the next video, I'm gonna cut this video right here. I'm gonna go into, uh, into highlighting these panels properly and highlight the wires and everything that's down here and make that looks look really cool. So that's Ah, what's coming up in the next video. We'll see you there 6. Defining your concept design: So let's move along and render this rotter here or whatever we want to call it. I'm gonna call it rudder or maneuver paddle or something. But remember the black hole, the black, flat brush that I'm used just earlier to make this black panel. I'm going to use the same brush now, but I'm using white. And I think you're going to bring down the opacity because I don't want it to be completely white. So let's just see what that will do. Okay, Looks suit. It looks supercool. It looks really cool. I'm happy with it. For now. We're gonna, of course, continue to make some, um, things on. I mean, define it even more. But for now, I think it looks really nice. And you see, if we, uh, put this in perspective here we have Let's make some perspective lines in a later so we don't mess anything up. It goes kind of like this. The vanishing point is up here somewhere, and we have a problem right here. If this is supposed to be symmetrical, that means that Ah, this highlights should be up here, and it should go something like this. So that's what we need to fix right now, and that's what I'm gonna do. And that's what I mean by a just as Ugo, because you can, uh uh, you doesn't really matter what you do to start with. You can just just make sure you have fun with it. And if you make mistakes and stuff, it just about adjusting its all about adjusting as Ugo and I'm gonna fix I think the point was supposed to be up here somewhere. So I'm just building some building this, um, Finn here or rudder. I'm building it up to corrected perspective, and I don't think it's gonna be that sharp down here. And that is a problem. I'm gonna go back to our finish away your let's see where okay sits in both these layers. I want to raise some of this black down here because it looks too sharp and I dont like it . Singa makes something like that. It was better. And now we have to go back and add some highlights on this new shape here because I think we're in better perspective now than we were before. It doesn't have to be perfect again. Just go ahead and add some stuff on it highlights or whatever you want. And then if it looks good to you, then that's awesome. And usually when we when I when I sketch stuff like this and I think it looks good, I'm happy with it. And then I come back 10 minutes later and I think I can see all the mistakes that that I made. That's exactly what happened just now with this perspective here, I think the perspective is still a bit off, and this should probably go down something like, Yes, something like that. So let's fill that in. There we go. Cool. And I want this to be a black outline here for now, at least. So what do we want to do next? I want to add some highlights on these things that are in here. So I'm gonna I'm gonna pick my really like these flat brushes because they give really good reflections. If you pick the right flat brush, that is. I think this one is cool. Probably. Yeah, that looks good. Or does it have some weird shapes to it? Let's see if we can find another one. Yeah, let's use this one. It doesn't matter. We can always I'm making a new layer, make some highlights and go back to the razor. I want the airbrush your razor now to make so smooth shades always keeping in mind where the light source is coming from. So there's a wing or something coming out here That means that is gonna cast a highly a shadow on what's underneath it, right? It makes sense and just try different kind of, uh, with it razors. And this, I think looks really cool. You know, it looks like some kind of bar or metal structure in there, underneath everything. I'm gonna do the same thing. Ah, on this. Just starting to define some details in here. Let's see if we can Maybe Addy really strong highlight there could work or could be a total disaster. Um, thinking it's going to work. So I'm gonna try and see what we can do about this. Start to raise, to make it a bit smoother in the back, and I like it. I'm gonna keep it and make you may be a highlight here. Always keep it in mind that the light is coming from this way. That's why I put this white highlight here. I put that one there. I put these facing this direction. They need to have highlights. And, uh, this probably too something in here. And then we have some cool stuff going on. And here, probably there is some something going on in between these two rudders that I wanna explore , what we can do about that. And we can make a section line that goes straight straight through the rudder if we want to . Not sure about the design off the section line yet that looks nice. Some, you know, just gets a bit more interesting. I think you're gonna do something similar with this surface years. I'm going to use a airbrush. Just go over it with the black hair. Actually, I think we're good using the same layer and a semi hardy razor. It's number 36 right here. And let's make some cool shape here. Let's see what we can kind of come up with. That might work. Actually, it has to be the other way around because the light is coming from here right from this way . That means that if I want to have an edge here, it should look something like this, and I'm using going back to the airbrush razor, just starting to have some fun with it. I think it looks cool. You have some some wave or some some line that goes right through this big, massive, empty surface just to make it a bit more interesting. And I mean, if we wanted to, we can add way can add some sexualized in here as a, uh, you know, final touch. Later on, we can add as many section lines is we want. But for now, I'm gonna keep it like this and just continue to add some highlights in here and said, I'm gonna change to this brush now. So this is, uh, a pressure sensitive brush in both opacity and diameter, meaning the hard right press. The harder the capacity and the bigger the brush. It's a really good sketch brush because you have, ah, a lot of control over it. So what I'm doing now, I'm just adding random lines to visualize reflections. So it's starting to look like some sting from outer space, for sure. And this section line here requires a highlight off course as well, some adding that right here. It looks cool. I also want to add, um a, uh, kind of like a what is call ish champ for, I guess, to this thing right there. So I want to add a chance for I'm using a regular brush. Looks like this. And just adding something like this just to give it some thickness. Same thing here and has a thickness to this panel. Then we dio could do the same down here, Aziz. Well, if we want to. I think this is starting to look interesting now. And we are almost ready with this because this is now we we went from having nothing to having something, and that's exactly what we wanted. We wanted to explore different shapes and see what kind of stuff we came up with. And, um, just come up with a shape that we could work with, still adding some highlights where they are supposed to be on the right areas where there are supposed to be highlights. And you should know by now have to figure that out. That is by thinking about your light source. And what surfaces are facing the light source directly. Is that too big of a barn point. I think it might be, and I want to add some. So now we're gonna I think we're fine with the general shape here now. So what I want to do now is the final step is to add some light lights to this thing. I want some glow and some really cool, laser looking stuff on here. So that's what we're gonna do in the next to you. 7. Adjusting our perspective - Adjust as you go, or "AAYG": So let's move along and render this rotter here or whatever we want to call it. I'm gonna call it rudder or maneuver paddle or something. But remember the black hole, the black, flat brush that I'm used just earlier to make this black panel. I'm going to use the same brush now, but I'm using white. And I think you're going to bring down the opacity because I don't want it to be completely white. So let's just see what that will do. Okay, Looks suit. It looks supercool. It looks really cool. I'm happy with it. For now. We're gonna, of course, continue to make some, um, things on. I mean, define it even more. But for now, I think it looks really nice. And you see, if we, uh, put this in perspective here we have Let's make some perspective lines in a later so we don't mess anything up. It goes kind of like this. The vanishing point is up here somewhere, and we have a problem right here. If this is supposed to be symmetrical, that means that Ah, this highlights should be up here, and it should go something like this. So that's what we need to fix right now, and that's what I'm gonna do. And that's what I mean by a just as Ugo, because you can, uh uh, you doesn't really matter what you do to start with. You can just just make sure you have fun with it. And if you make mistakes and stuff, it just about adjusting its all about adjusting as Ugo and I'm gonna fix I think the point was supposed to be up here somewhere. So I'm just building some building this, um, Finn here or rudder. I'm building it up to corrected perspective, and I don't think it's gonna be that sharp down here. And that is a problem. I'm gonna go back to our finish away your let's see where okay sits in both these layers. I want to raise some of this black down here because it looks too sharp and I dont like it . Singa makes something like that. It was better. And now we have to go back and add some highlights on this new shape here because I think we're in better perspective now than we were before. It doesn't have to be perfect again. Just go ahead and add some stuff on it, highlights or whatever you want, and then if it looks good to you, then that's awesome. And usually when we when I when I sketch stuff like this and I think it looks good, I'm happy with it. And then I come back 10 minutes later, and I think I can see all the mistakes that that I made. That's exactly what happened just now with this perspective here, I think the perspective is still a bit off, and this should probably go down something like, yes, something like that. So let's fill that in. There we go Cool. And I want this to be a black outline here for now, at least. 8. Surfacing - Design surface features: So what do we want to do next? I want to add some highlights on these things that are in here. So I'm gonna I'm gonna pick my I'm really like these flat brushes because they give really good reflections. If you pick the right flat brush, that is. I think this one is cool. Probably. Yeah, that looks good. Or does it have some weird shapes to it? Let's see if we can find another one. Yeah, let's use this one. It doesn't matter. We can always I'm making a new layer, make some highlights and go back to the razor. I want the airbrush a razor now to make so smooth shades always keeping in mind where the light source is coming from. So there's a wing or something coming out here That means that is gonna cast a highly a shadow on what's underneath it, right? It makes sense and just try different kind of, uh, razor's. And this, I think, looks really cool. You know, it looks like some kind of bar or metal structure in there, underneath everything. I'm gonna do the same thing, Uh, on this just starting to define some some details in here. Let's see if we can. Maybe Addy really strong highlight there could work or could be a total disaster. Um, thinking it's going to work. So I'm gonna try and see what we can do about this. Start to raise, to make it a bit smoother in the back. And I like it. I'm gonna keep it and make maybe a highlight here. Always keep it in mind that the light is coming from this way. That's why I put this white highlight. Here. Put that one there. I put these facing this direction they need to have highlights. And, uh, this probably too something in here. And then we have some cool stuff going on. And here, probably there is some something going on in between these two rudders that I wanna explore when we can do about that. And we can make a section line that goes straight straight through the rudder if we want to Not sure about the design off the section line yet that looks nice. Some, you know, it just gets a bit more interesting. I think you're going to do something similar with this surface years. I'm going to use a airbrush just go over it with the black hair. Actually, I think we're good using the same layer and a semi hardy razor. It's number 36 right here. And let's make some cool shape here. See what we can kind of come up with. That might work. Actually, it has to be the other way around because the light is coming from here, right from this way. That means that if I want to have an edge here, it should look something like this. And I'm using going back to the airbrush razor, just starting to have some fun with it. I think it looks cool. You have some some wave or some some line that goes right through this big, massive empty surface just to make it a bit more interesting. And I mean, if we wanted to, we can add way. We can add some sexualized in here as a, uh, you know, final touch. Later on, we can add as many section lines is we want. But for now, I'm gonna keep it like this and just continue to and some highlights in here and said I'm gonna change to this brush now. So this is, uh, a pressure sensitive, brushing both opacity and play amateur meaning. The harder I press, the harder the capacity and the bigger the brush. It's a really good sketch brush because you have, ah, a lot of control over it. So what I'm doing now, I'm just adding random lines to visualize reflections. So it's starting to look like, uh, some sting from outer space, for sure. And this section line here requires a highlight off course as well, adding that right here it looks cool. I also want to add, um a, uh kind of like a what is call ish champ for, I guess, to this thing right there. So I want to add a chance for I'm using a regular brush. Looks like this. And just adding something like this just to give it some thickness. Same thing here and has a thickness to this panel. Then we dio could do the same down here, Aziz. Well, if we want to. I think this is starting to look interesting now, and we are almost ready with this because this is now. We we went from having nothing to having something, and that's exactly what we wanted. We wanted to explore different shapes and see what kind of stuff we came up with. And, um, just come up with a shape that we could work with still adding some highlights where they are supposed to be on the right areas where there are supposed to be highlights. And you should know by now have to figure that out. That is by thinking about your light source. And what surfaces are facing the light source directly. Too big of a barn point Think it might be, and I want to add some. So now we're gonna I think we're fine with the general shape here now. So what I want to do now is a final step is to add some light lights to this thing. I want some glow and some really cool, laser looking stuff on here. So that's what we're gonna do in the next video. 9. Quick trick to check your perspective: Okay, so let's jump into some lightning here and let's let put its, um, let's put some lights under here. Neon stuff and lasers and stuff like that. Really cool things. But before we do that, I want to show you a trick here. So I want Teoh. I want to make all the layers go into one layers. What I'm doing here, copying or of selecting the entire cannabis. And I hit command shift, see, and command V or control shift. See Control V to paste all the layers into one top player like that. And what why I want to do that is because I want to check the perspective real quick. So we do that by flipping the campus. So when you flip the cameras, it's a lot easier to see the flaws in perspective here. And I don't really see any major flaws here. Might be. I mean, the only the only thing that could be is this area right here that this ed should probably go on all the way up there. But to me, that's just a minor, minor, minor thing. It doesn't really bother me that much, so I'm just gonna keep it and I'm gonna go back. Go back to our previous view and we can actually keep this layer here. It doesn't matter. We can keep it as then Merged. Layer layer number 12 up top here. 10. Let there be light! Here's how to add glowing LEDs & lasers: and just continue with adding some lights. So that's what we're gonna do now. So how do we add lights? Well, there are several ways. Several ways to do this. We could use the screen blend mode so we have a new layer here. Let's say we want to make some lights underneath this shell that goes right here and let's make it, um, neon like blue color or something like that. So if you use screen, what is going to do first will select a, uh, airbrush. It's tool. You know, I don't know exactly what these layers do if I'm honest with you, I know what they make things look like, though, and to me, that's the most important thing. I don't really can't care about the technology behind each blending blend mode, but I rarely use ah screen anymore because the screen blend mode right here, because I think it looks it doesn't look good. Basically, it doesn't look like I used to use it all the time to visualize light and add like some white in here. Yeah, you can't paint the lights if you wanted to, but there is a much better way to do this, and that is to change the screen, the blend mode to color dodge right here and what that does. It gives us so much for free. It gives us so many reflections and stuff, and it just takes the values from underneath whatever you're painting on and really makes that make that look like it's glowing, or you can see the light here. It just looks like it's a light or it's being lit on by something right. It looks really cool. I love. That's why I love this layer blend mode because it's easy to paint light with light with. And if you have, if you've already painted your let's say there's an L E D Strip that goes right here. Let's do that. Let's let's see how that's gonna look. We have an L E d strip that goes underneath here. You can see the glow right now just by adding this strip because we're painting on top of a collar Dodge layer right now, and that's what gives this glow. After we've done with the with this brush, we want to go in and use an airbrush as well, so I'm gonna make a new layer underneath the color dodge layer. So the color Dodgers always effective on the layers that we paint on right now. And I'm going to select the airbrush and now make its glows. I'm gonna follow this line that we just Did you see that? Doesn't that look really cool? So compared to the screen blend mode color Dodge really gives this go low wing sensation and you don't really have to do much. You only have to do is, uh, add a baseline, which was, uh, this line right here, that line. And on top of that, we wanna have the glow from the light. So I'm using an airbrush to add that on top off the a line that I just sketched. You can make this bigger if you want to. I mean, you could make it glow as much as you want, depending on the diameter on your airbrush. Now, this might be a little bit too much. It looks insane. It still looks cool, though, and screen mode, it can be good right now, for example, to So I'm gonna put this in screen or we can use overly as well but screen if you want for example, this light here now is reflecting on a lot of things. So let's say the beam is going this way. That means that it will be reflecting on these surfaces. Actually, for this I want to use overlay and, you know, add the light to the areas. They're going to be affected by this strong beam here. So everything facing this way is going to be lit up. Hopefully, that makes sense. I'm making some sort of light beam here using the overlay, and it just looks really cool. Let's see if we can make, um, another color dodge to make like a No, I don't like that. Maybe screen for this Yeah, screen, I guess if you want to make a light beam, if you want to make it stand out, you can use Ah, a screen layer on top of all of this. But to me, I think it looks a bit too much. Maybe so. I'm just gonna keep it like this. Maybe added on the far side, because since we can't see the, uh, yeah, that looks cool. That looks cool. I think I'm gonna keep it and let's see, I might want to reduce this layer just a little bit because it's coming off a bit strong on the top Here with the blue, you might wonder why I'm keeping all the other shaves in here, such as this shape right here and this one down here and this whatever this is in the background. Well, it's totally up to you if you want. If you want Teoh, I mean, to delete those, you can do it. Fine. It's, uh it's totally up to you. But the thing is, I just like to have them in their Teoh. It just makes the sketch more interesting because you can see how how this big shapes started out. It started out like one of these silhouettes, and it's just cool to see the exploration And how this how this developed to something like this. I hope that makes sense. But if you think it's too Messi or it doesn't look good, of course, just delete it on, have a clean just shape on white background, for example that works. So you see this little thing here I'm gonna add and some red in here red and blue always works great together. So that's what I'm gonna do we gonna add it right here on this line in the middle? Anything here adding a I'm just using a sharp brush now, and I'm gonna jump into the Arab rush to hopefully get some glow, maybe screen. I think screen works better in this case. The thing is, you have to just try and see which one works best for. Because it's it depends on, um depends on the situation. So right here, I think screen just works better. It looks very cool, maybe. No, I don't know about this at the back here. Gonna delete some of it, but I think we have our spaceship here. So in the next video, uh, I'm gonna show you how to make a final step copying all the layers and pasting, emerging them into one and then, as a final step sharpened the whole thing up and make it look really crisp and, you know, sharp. So that's what we're gonna do in the next video. 11. Lens Flare Madness Let's make it shine: just one more thing. Before we jump into the final touches here. I forgot to show you this cool trick so you can just Google Lens flare and you're going to get a bunch of different lens flares as images and just copy one of those off it, open it up in photo shop and put it like this, just a black background. And then you have the lance flair, flair, and then we want to hit this in. When I put this in color Dodge and look at this, we got a free lens flare. If we want to play around with stuff like this. I think it's really cool sometimes. But in other you know, occasions, it can be, ah, bit maybe too much like the like some of the movies where you see lens flares in every single shot. It gets a bit training after a while, but I just wanted to show you this quick, cool technique so you don't have to actually paint lens flares if you want. If you want them in your in your sketches, you could just copy them and put them in color dodge. So now let's go into the final touches off this sketch 12. 3 final tricks you don't want to miss before calling it done: when we're happy with the design and we feel like this, it looks good. It looks clean. It looks kind of what we had in mind when we started to see our vision. We want to finish this rendering or sketch up by selecting the whole campus, using the selection tool up here and then do the same thing. We want to merge all the layers into one. So we select the top layer hit command, command the shift, see and command V to paste everything into one layer or control shift. See, control the on a PC, and that will give us everything into one layer. So what do we want to do with this layer now? Well, I think maybe we want to crop it just a little bit And get Thea get the what he's calling dia composition composition, right? Or a bit better, at least a bit more interesting. So that's what I'm doing right now. Something like that. Maybe, uh, let's just crop it just a bit more on the bottom and not too much over there. So you wanted almost centered? That looks good. So from here, this is what I do. So if you want, you can go in and play with the color balance if you wanna have a warmer tone or a, uh, colder tone. So if you want a warmer tone, you want more towards red and the yellow. This will give us like a earth, you know, brownish tone on the whites and stuff like that Oregon. I mean, you can play around with whatever you want here, but if you want a colder tone, you go in the opposite direction. So you want to go towards CSC Young and towards the blue. And that's what I want for this sketch. I wanted to be a bit robotic, told and, you know, sterile, I guess eso I'm gonna keep that. This is off. And now we turn on the color correction right there. It's a subtle change, but it for me makes a big difference. So I'm gonna keep it like that. And I also want to add you see this area here? I think it looks a bit too shiny. Looks just too perfect. So I want to add some noise in here. Not that much, but maybe the amount around 2% to percent. Maybe you can see the noise when I zoom in, You see that? It just adds an extra dimension to the sketch. I think it looks really cool. And the final step to make it really pop is to go into filter and then you hit, sharpen and unsure. AARP mask. You see how everything just popped If I turn it off? No, I turned it on. It just creates, uh, all the highlights are popping on the, uh It just sharpens up everything. Basically. And I really like this as a final touch. Teoh make things look super nice. So what we did now, when did the crop? We cropped it to get the right composition, and that's totally a matter of taste. But I like to have my main object centred. And if it's facing in some direction, I want to have some space in front of it. If that makes sense. And we also added noise just to get some disturbance in the perfections to make it a bit in perfect Oh, yes, in perfect Or how you pronounce that. And we also finished off by sharpening the whole thing up with on sharp mask. I think we got our spaceship here and it looks super welcoming. So that's a good thing. It doesn't look evil at all. And, of course, the final final touch ISS to sign your masterpiece. So I'm gonna add my signature right there. There we go. So in the next video, I'm gonna talk to you about your class project. It's gonna be super fun, so hang around for that. 13. Class Project!: All right. So first of all, I want to say a big congratulations on finishing this course and thank you for hanging around and sticking with me throughout this weird spaceship sketching that were doing so for the class projects. We want to think about how we went from this, which is a completely blank canvas to something like this. What happens? What water is steps that we took throughout this class. To get this result, I want you to think about that. And I want you to start with a blank cameras just like this in photo shop or this This doesn't even have to be digital. You can use pen and paper or if you have, like, a black marker or something. And I want you to just doodle something like this on it because the first thing we want to dio is to get that we want to unblock our creative block that comes naturally. When we see a blank sheet of paper, we want to get something. We want to interrupt those thoughts and just get something down on paper as fast as possible. And it doesn't really have to be anything. It could be just you know, doodles like this, whatever. And from there, I want you to do this. Continue doing this. The black silhouettes. Until you find a shape that you think is interesting, it can be anything. It doesn't have to be a spaceship. It doesn't have to be a product. Even it could be something abstract, if that's what it is, that that's what comes to you. So that's the whole point. Just exploring your creativity and just, you know, unleashing your creativity onto the campus and not think about rules and boundaries and stuff like that. We don't want that at all. So just go crazy and come up with some cool shapes. And I really hope to see some really nice, uh, interesting shapes in the Projects folder when you're when you're field ready with your design or shape. I really look forward to seeing that once again, if you have any questions whatsoever, I'm always available in the class Q and A. Or discussions hope to see you there and take it easy, guys. Thank you again for taking this class. My name is Martin Bemba Lee. I will see you next time