Create a 3D Moon & Nebula | Chris Heath | Skillshare
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14 Lessons (1h 8m)
    • 1. Introduction

      1:12
    • 2. Making Pancake Batter

      2:38
    • 3. Making Cratered Pancakes

      2:13
    • 4. Scanning Your Pancake Surface

      1:08
    • 5. Creating a Texture Map

      9:51
    • 6. Creating a Bump Map

      8:46
    • 7. Creating Your Moon

      13:48
    • 8. Painting the Nebula

      11:10
    • 9. Adding a Sun and Primary Stars

      7:42
    • 10. Adding a Star Field

      3:13
    • 11. Lighting the Moon

      1:53
    • 12. Your Project

      1:03
    • 13. The Creative Space Agency

      2:29
    • 14. Bonus - Gas Planet Quick Lesson

      1:23

About This Class

From a scanned pancake surface, create your very own 3D moon; and learn how to paint a nebula to show off your uniquely cratered moon.

Multi-Outcome Class

This class covers a range of easy to master skills, from cooking, to 3D rendering, to digital painting.

Part 1 – The Pancake Moon

In Part 1 of the class, you will learn how to:

  • make pancakes in your kitchen
  • using Affinity Photo, make equi-rectangular projection texture and bump maps out of the pancake's cratered surface
  • using Cheetah 3D, wrap the texture and bump maps around a sphere, and
  • render your pancake moon.

We will be using Affinity Photo to create our texture and bump maps, and Cheetah 3D to render the pancake moon.

Note: Cheetah 3D is Mac-only software. For Window's users, you may find similar 3D apps that you can use. If you can't, I have supplied some moon renders that you can use for Part 2 below.

Part 2 – Painting a Starry Nebula

With Affinity Photo, you will learn how to:

  • use shapes to create stars and simple lens flares
  • use the standard set of Affinity Photo brushes to paint star fields and a nebula
  • composite your moon with your starry nebula, and
  • fine tune the lighting of your moon.

 

Introducing the The Creative Space Agency

This class is one of four space-themed classes developed collaboratively by a group of Skillshare teachers who banded together to form the Creative Space Agency.

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Please check out these amazing teachers and their space-themed classes:

The Affinity Photo logo and Cheetah 3D logo are copyright by their respective owners and are used with permission.

Transcripts

1. Introduction: in this class, we will be learning how to create space themed image just like this one. This class covers a lot of easy to master skills. The first listens cover how to cook pancakes in your kitchen using affinity photo. Also show you how to convert the crater pancake pattern and texture Mitt and a pump man And using three D software, I'll show you how to read the pancake image around a sphere. For this, we will be using cheater three day using affinity photo. The second set of listens cover how to create stars, star fields and manipulate, and we will also learn how to combine all of these elements to create our final image. First up, it's time to get started in the kitchen. 2. Making Pancake Batter: For this recipe, we will need some ingredients. The ingredients are two cups of plain flour, two cups of milk, two eggs and 1/4 to 1/2 a teaspoon of salt. Preheat the pans I'm using, too, because I'm making breakfast for the family this morning. Set the temperature to about 2/3. Maximum heat to mix the better. Start with two cups off plain flour at the salt and give it a world. Make a well in the center, then head your eggs next up at the milk. This is going to be approximately two cups of milk all up, but not initially. Mix the ingredients to give a When it gets too thick, head some more milk. What we want to obtain here is a nice, creamy consistency. Keep mixing until the better is nice and smooth and lit. The better said around for about five minutes, a little thick enough so you can add a bit more milk and mix it and pride cooking your pancakes and watch out. Those pans will be hot, so don't leave them unattended. 3. Making Cratered Pancakes: it's time to make some crater delicious pancakes. You will need to scrunch up some baking paper to spread the butter around the pan, and you will also need a special and a large spoon. Melt the butter in the microwave for about 10 seconds to soften it. And remember, it may be hot with the scrunched up paper. Spread the butter around the hot pan in scoop or poor on the better. Take care thes panza karnstein, so make sure you are taking the appropriate precautions. I'm using a T tell to protect my hands from the hot iron handle. When there is no more liquid on the surface, flip the pancake over now those pancakes with keeping for the next listen so it won't be eaten. When they really put them into a preheated oven, place them on the plates and cover them to keep the moist in the oven. And we had done. We have a delicious stack of pancakes perfect for scanning in annex listen and for eating 4. Scanning Your Pancake Surface: way. We have our pancake. Place the pancake on the glass and place some paper over the pancake so that it doesn't stick to the underside of the lid. And now we're ready to scan. Select the pain cake and scan. If your scanner is anything like mine, it can be a bit slow. So now is a good time to take a nap, and we will be back shortly. In the end, I scanned two pancakes. I tried 600 dp I and 1200 dp I you're Skinner may only go up to 400 dp I and that's absolutely fine. If you don't have a scanner, try taking the best photo you can with your smartphone. If you're not gonna eat those delicious scanned pancakes, don't let them go toe west. Throw them out for the birds 5. Creating a Texture Map: I thought it does just give you a very quick overview of what we're going to be doing in this. Listen, basically, we're going to be cropping our moon texture. So taking that round pancake shape and cropping it down to a rectangle that will look something like this, then with an affinity photos 3 60 life, you We're gonna take this image and make it look more like verse. The thing to note here is at the top of the bottom. Everything looks stretched out. So when we wrap it around a sphere, the top end, the bottom areas will look OK. Whereas if we ripped the summit around the sphere, everything at the top end, the bottom will look pinched. Just like this example where we've got an image wrapped around a sphere on the left and everything looks pinched because we haven't edited the image. And on the right, where we have edited the image on affinity photos 3 60 live you. Everything looks normal. They're foil open and I want to open the two scanned pancake images. So open that one first and open the next one. That's one has some appeal. So I think I'll use this one. So now what I want to do is crop. And I'll go to the crop tool for that sit, Horatio custom ratio off to toe one. And that way it doesn't matter how I resize. That's the ratio is always gonna be to tow one. This is gonna be our rectangle. The other thing is, it can also rotate the image to try and get what you think will be the best heading across the equator of your moans. Really looking at this region across the center here, I get a nice pit on all the way around. If we can and maximize the areas, click apply. The next step is to flat in this documents to flat on this document, we will go to document flat. The next thing we have to do is sort out what's gonna happen when this edge down the right hand side meets message down the lift inside. So we're going to use affinity photos, a fine tool. So I will go to filters the Stort and a fine. And what we're gonna do is basically shift this image 50% across to the rights, so 50% on the office it X field, click a ploy. And basically, we have shifted this image across. We could use the clone tool to remove the scene gain client all we probably need a bigger brush. So just take that up. Probably about that size is final. Might go a little bit bigger begun with. And what we're gonna do here is just pick up by pressing the option Katainen into across here. If I pick up this region and then start brushing away here, you can start to see that seems starts to disappear. But I don't want to get too carried away with the clones source in the same position all the time. Otherwise, I just mean that repeating the pattern which is over here all the way down here. So I'm gonna mix it up and constantly moved the clone source. And there we have it. The same is gone, and I'm pretty happy with the images it is now. So the next thing to do is to put the so much back to how it waas location waas. They will go to filters, distort and back to a fine. And because we originally office it, it's plus 50 percent we're going to put it back. So minus 50 percent now it's time to tackle the top and bottom regions off the Sim Egx. So what we will do is take it into live 3 60 view. We got to layer life prediction and equip rectangular projection. So here we were just looking at the inner surface off this sphere. Thes, thes little right, left up, down arrow so that we can scroll up to the top and get a feel for what the top looks like at the moment we've got that punched image. So what I want to do now is actually just swap across to our other pancake image and select the of the elliptical Matthew told and holding the shift K down. Pick up. Okay, circle. I can move this circle round so we will copy first image toe, hit it copy and over to here Paste, it's hit it paste. So my circle is about two big. If I merge for circular image with the image below, it'll get chopped here and here, which is what I want. I'm going to scale it by command clicking this corner, and it scares it down quite nicely. Teoh there for the next stage is to merge thes two images. But before I do, I'd like to just make sure I got a copy. So duplicates at a copy off that and just hide it for now. So I'll select those two images and layer merge selected. So what we're gonna dio is use the clone tool again and just really work with the Thet Say , forget some here is, like, over here and is out like that and again here. So when I was painting with the clone tool, I lost the ability to move around the live projections. That's just a matter of looking in a life projection and then just moving around your image . So I think we could probably do a little bit more work here in terms of dealing with some of the distortion and gain back. Teoh it. It's live projections. Have you can have another look around. So you want to do the same thing at the South poles her again? We've got this punched look here. So Cain, copy, But copy Victor 3 60 image. And we're just gonna paste it on top in the movement Teoh position, which is the rent roughly ran the middle rotated around, said the dark areas sort of matchup reasonably well with the dye curious over here. Next thing is hope the command k down just to resize. That is, before I will Midge Thies to his house flick both those layers and layer which selected. So now we have thes layers merged, just like before. What we're doing is using the clone brush toll and holding down the option K to sit the source of the clone. So I'm going to leave the life protection now. So layer life projection, remove projection and we're back to our hitters. That image, just to show you the before and after this is obviously the after we're looking at it, was to show you the before you basically had a pancake. It looked like a pancake. And this is the after, which has stretched across the bottom and stretched across the top 6. Creating a Bump Map: Now it's time to create our bump map. If you're not too short a bump, members, the bump map gets the surface some depth. Within our three D software. We will be applying this texture to a sphere, and it'll look really flats. But if we apply a bump map that will give us texture, some depth that won't actually change. The geometry of the sphere was still dealing with a flat, smooth surface. But the bump that will just give that service about more depth will help the craters show up with shades and shadows that make them look a little bit more like craters. First thing to do has got to layer you adjustment layer, and we will add a blackened might adjustment layer, which will sit above our pixel layer, which is our moon surface. So I'm just gonna leave it at that and closed that down. So that's fine. So if I hide this layer, we can see the color beneath. I want to add another layer because I want to convert this. So with the bump map, the darker areas will provide depth to the craters and the lighter areas will appear raised . So we need to flip this around. So, liar, I had a new adjustment by a and unfit adjustment. So now we've got it all tender inside out, if you like, and all the dark areas, they're gonna be the deep areas, and all the life here is going to be the top surface off our moon. I do want to head one war, which is a brightness contrast adjustment. So, like, uh, you adjustment by a brightness contrast adjustment so much, just play around with that later on, or even now. And there is actually one more layer we need to end, and it's the layer where you're going to be painting on. So I just said that by clicking Ed pixel layer down here. Now we have this view off our moon surface. Now, looking at this, we can sort of see if if you imagine that is going to become a crater, we seem to have a dark injury on there or is re really what, the center of the crater to be darker rather than being lighter. So the next stage is basically to take these four layers as they are all open and displayed . We're not gonna pick up their bottom one. We're just going Teoh, who that be on and it post And what I'm still selected. We're going to go live there. I urge selected. And just to get these other ones out of the way, I think we will just group for now. So this is going to become our bump map, and I would just go into here. Just rename. This one is Texture Matt. And back to the pump Go to layer life projection equipped rectangular projection on We've got alive you so we can sort of spin around and what we're looking for. That's thes duck lumps which just need to be darkened up in the center. So we look at our polls, which was up there, plenty of them up there, which we can Qwilleran. So I'm gonna go to my brush and pick a basic round light brush, an affinity photo. I'm just picking a basic pressure from up here and the radius from here. And that's a little bit small. So I will take it right, Huh? That's what bitter. What even Go, Go, go. So with this brush and the color is sit to black and we've got Ah, reduced pace takes that Really want to go overly dark hardness down to zero. Here, I can see what looks like a mound. I just want the top of that mound back end up like that and the same with us on the same offense. And basically, I'm just gonna move around my met until I have pretty much covered a reasonable number of these. So every now and again, I need to go back to here, get a life projection so that I can move around and find a few more e think of covered the polls. Anyway, what I'm gonna do is go back to the rectangular shaped image. So for that, I got the bump met, selected and up to layer. Plus prediction removed. Prediction? No, that done. It looks like it's a lot darker around the pole area. So that's the main you're here to do. So I could do the equatorial region and to buy 14 minutes. So here is thief finished bump MEP, and what I wanted to do was just briefly show you what it looked like before we started coloring in all the craters to make them darker and deeper, and that's what it looked like before now. We could actually have just exported that, and we probably would have got a reasonable moon surface. But I think it just pays to deep in up the craters and just makes him look a bit more realistic would be like thumb on the three D software. So now all we have to do is save our bump map and save our texture map. So here we go. We've got the bump met displayed for oil exports and the sittings probably a little bit to book. So I just take it down to 90% exports. And I'll call this my, um, Matt. The next thing is to save the texture map, so we don't want it inverted. But we will use the brightness from contrast. Just double click. There's and what I've done here is I've just increased the brightness a little and also the contrast so I could increase the contrast more if I wanted to. But this is the text remit, and I think that's probably OK. Britta's same as before. Foil exports on sittings of fine and will save us is extra men, and we're done. See when the next listen 7. Creating Your Moon: So now it's time to attach our texture, map and pump to a sphere and some three D software. So I'm using treated three D. It is make only, but there are plenty of other three D applications that you can use on windows. So if you ever make and you have never used three D software before, this is actually a good place to start, so you can download Cheetah three D. I'll just go back to the home page, just click download, and you can download a version here and use it and trial mode. The only downsides of using the trial vision of Cheetah three D is you cannot save your cheater three D files. However, you can still play around with the existing files and treat a three day, and you can render out images and save and use those. So the next thing to do is to download the cheater three D files that I have prepared, and you can do this from the your project page off this class. So just open this up to show you what you will find there. Now, this is what I've prepared so fair I may add a few other items to it by the time that I played it for this class. So here we have a sample background emerge in landscape mode. What we created earlier is Thebe bump met. There is the text, remember? And I have also set up some lighting which we can't few on the finder. So here is the cheetah file that I created earlier for you. Two years, everything is set up. I've tried to simplify this Aziz much as possible so that all you really need to do as attach your textures to the sphere and render them and thin you can take that rendered image beckoned to affinity photo and from their weekend composite that and to our final image. So open up this file and here we go. So this is what this file looks like. And also this is what chief for three d looks like So I've already got my pancake loaded up as a texture on the right hand side here. I've set up some cameras for you. First camera here. Oh, just double click the camera Now this camera actually has a black background, but you won't see it until you're endure it So there's a render button up here. If we click render and could cheat a three d a little bit of time to into their image you will see the black background and there we have a for double click the camera icon for the starry background. You can see a starry background here and the fire into that We're into the same moon with a starry background and like was there is a transparent background. So again double clicking the camera icon to select that camera clicking Rendah and the moon will be rendered against a transparent background. In this case it looks white But if you copy and paste this into another application, all you will see as the moan and within the application whatever is sitting below that moon layer. Here we have the moon selected and attached to that moon. If I just pull this and so that we can see, I would ask you gots down the right hand side. You can see I've got a moon material attached to the moon and there is this pancake material over here the last item on the list here because the light now this is a very simple life. It was an HDR image, so I won't go into detail as to what that is. With the exception off saying that this lives which is basically this week, we rectangular projection here hope he projected around the smooth. So it's similar to using affinity photos live 3 60 editor and still of the moon being projected on the inside of the sphere. It will be this black surface with this private life and that will render out the moon's surface. And before I forget, there is also one other thing I want to show you. I've also set this up for animation, So if you don't like this particular view off the sphere, you can just break this timeline across and find an interesting out of the surface to Rendah think like Brenda and that will render out the moon's surface. So the difference between this render and the last one I did is that I'm rendering different part of the moon. So how do we get your texture and bump up onto this moon surface? And it really is quite simple. So we'll go to at material click material and what we've got here is basically a gray material. Another great material has about a reflection on it that's called Speculator. So I want to actually take that speak for down. So I'm going to look at what I did for the smooth. I'm going to click that up comes the color panel, and I can see it sit to 60%. So I am just going to do the same for this material. Sit the speculator, too. About 60 percent because the moon is dusty. I don't really want it to have a a shiny spot. Close that, and that little spot is not so bright anymore. So with the material selected, it's now time to attach our text format. I'm going to click this button diffuse Click this little square about in here from textures . Select image, and this creates us image well, and I want to load our texture map into that image well, so to load our texture map, click load, navigate to the texture map click open. And here we have done here, you can see how text remembers now loaded. Now what I'll do is I will just drag that onto the moon and let go. And although you probably haven't noticed much of a difference. What I want to do is just quickly render that to show you what happens if we don't have a bump map without the bump map. This image looks incredibly smooth with the bump man. It'll look so much better because we can see the craters in the shadows to load the bump map that we created. And sure that material is selected down here. Scroll the properties done to bump, mapping and click the square button textures image. And again, we end up with another image. Well, so load and select from pip dot jp G. And here is the bump met that I created Click Open. And now that Bump Met has loaded against our material and our foreign debts. We can see the difference like before. Here is thieves rendered image without the bump. Map is no texture to the surface, and here is the image with the bump met, and we can start to see all the craters. And these surface off hormone looks much better. So again, respect to our cameras. If we want to see what that looks like against a starry background, just double click the camera and Click Rendah, and there is the text remit, the bump map and the moon all rendered and ready to go. So if it's a Sfar as you want to take this class, that's fine. If you want to render the moon so that you can do more work toe on affinity photo or photo shop, then render by double clicking the camera, which is the one with the transparent background into this. And you can notice by simply clicking the copy button, take it and to affinity photo or photo shop. The last thing I want to do is just show you a few more things that you can do. The first thing is playing around with the HDR light if you want to light it from the front , change that to zero and Chris return fender again. And now we have what looks more like a full moon compared to this one, or when it's against that background, we've only got part of the moon lit up so you can play around with the position of the light. This is the X value. This is the Y value. If you want to light it from the top, minus 100. That may seem like it's and reverse Prince render, and now we've got it. Let's from above. Not much, but we can't play around these properties about more. It's try minus 80 and that's a bit brighter. So our lighters little more in front this time. So that is the life. I'll just put the specter where it waas again. You can't save this file if you're using the trial vision, so the upside of their does, whatever changes you make there won't be saved so you can actually miss around. Just one of two other things to show you about. Treated three D. If you want to see more files, you can go up to the help meanie and have a look at some off the samples. So it's look at the whiskey glass, so here's a whiskey glass in your endure it. This model is courtesy off Frank Pickman, and you'll see a lot of his work, and he's really helpful with people on the cheater three D forum. And there we have the finished window so you can create some pretty realistic affects of traitor. Three day and we're back 12 moon. So there's lots you can do with Treat a three day. There is also lots to learn. If you cannot see these icons here, it's easy enough to put the men so just quickly explain what they are. First, I'll show you how to display them. Will you do in this region under objects is right click display and make sure everything here is ticked with this one. What's going to happen is if I click this little I wants to hide the moon. Click it again to show the moon. Next we have the camera icons. So if I clicked the camera icon even though you can see it on the stage that will not render over here you'll see two little moons This waas my pancake material here and this one here is the one we've just created, which and your vision will be your material. So we've covered enough to show you how to create a material at the text Ramat End bump up to that material trigged that material onto Helmut and we now know how to select a range of cameras and render al moan 8. Painting the Nebula: the first thing that I want to do on this listen, is grab an image off the moon without any background. So I've got a camera transparent background, one selected, and what I'm gonna do is render that copy it to the clipboard and then swap over to affinity photo. So here I am. I've got affinity photo open, but no documents. I'm just going to go file you from clipboard. And here we gol maximized us. So here we have pasted the image from Chita three day. So first thing is, I'm just gonna move this down sort of here somewhere. You could put it really anywhere, but I'm going to put it down here and basically create a starry background in this region here. So to create a new pixel layer, click the pixel layer icon here and little place a pixel layer icon above the image actually wants my story nebulous background behind the image. So I'm just going to take that down under there. So to create this nebulous background, I thought I would just use the standard brushes that come with affinity photo. So if I click the brush tool here, brushed hole and then go up to brushes over here, on the basic. There's nothing really that I want to use here at the stage. So go to texture. And this grunge brush up here looks pretty good. So this is what this brush looks like. And I think that creates quite a nice pattern. So just under that, another thing I will do is just create a new pixel layer and place that's right at the bottom. In this pixel layer, I want to fill with black and fill that layer so it looks a bit more space. Like now we've got that darker layer at the back, and I'll just lock the Slayer so I don't end up painting on it. These are image which I can switch on and off over here. And this is the layer where you're going to paint on. So I think for now I'll call it the nebula one player, because I'm actually have more than one layer. Each time I create this image, I end up with something very, very different. And to explain why is that? I like to experiment with the brushes, so get back to this brush, which is this one selected here and drop the opacity right down. And what I also want to do is find some colors. So what we will do is pop over toothy Pantone website. No, this color is Penn Tone 18 38 vidi eight ultraviolence. And there is also I'm here, some kala pellets and what I have done is picked at this color palette. And I've loaded the RGB visions of thes colors into my apple color picker to find the apple color picker go up to if you apple color picker. And here we have the Pantone Ultra Boil it that you don't have to use these colors, and I'm not actually showing you how to load up that's color palette. You can just pick your colors from here, but selecting the RGB colors whole that you sell if you prefer to work on that color space . And this is the first time I've actually used the's Pantone colors. So at this stage, I don't know what I'm gonna end up, so to see how that looks, it's looking a bit I take we will take the pace ity down. Just don't do that. Then that looks a little bit better. Also has a nice effect where it overlaps too. And just put a few splutters here there any everywhere. So one of the good things to do here is actually also to vary the size off this brush and adjust the color. So even though I started with that's color palette, I'm just gonna pop up to here down to H s, l and these from highlights. We're going to not be a pasty down further and you'll see how that looks. And what I'm doing here is I'm just placing some highlights here, and they're pretty randomly. That's not looking too bad. Some subtle colors here, there, up nebulous tend to the pretty random in terms of shape. So also bring it down to the air. Time to vary the colors a little. And I think for that will create a new player. So because I'm experimented with different colors well, I'm really gonna dio Azaz pick some other colors might be thankless. Wanna pull it a little bit more? The justice size, the brush and just see what that looks like. So it's sort of quite a nice highlight. Maybe we should up the brush and get pasty little have some of these blocks of color still look pretty solid, but I'll show you fear that in the trick what we can do to break this nebula wrap. One thing to avoid is just sort of clicking all over the place like this, because otherwise that ends up looking like someone's being playing squash or tennis against a wall, and you just end up with lots of splutters. So just undo those and just go back a little bit further picked earlier and try and do something that's a little bit more understated. And remember to bury the size off. He brushed. When you're doing it, handle so the opacity, so I might go back. Teoh. This color is a starting point and go very lights and and also go even school with the brush. So what I want to do is just get so much trusting writer areas. So as you can see, that really is just a matter of playing with the brushes. I'm going to speed this up for a little while and then you can see what's happening. I'll stick with the same brush and I'll slow down when I change brushes. I was gonna try the razor, and using the same brush do is just raise a few things just to break up the solid. Let's of some of the colors. Drop the pasty right down and time to speed up. And I will just use a combination of brushes and colors from the color palette. And remember that if you're worried about destroying what you've created by getting too much color, you can always just add another layer on top and continue with this new layer. Also, remember to try some of these other brushes. This one's quite a good one of you want to do some lightning affects it looks a bit too lab , but even if you drop it right down just to get some spidery, fix close up. I would like to do is add yet another layer, and I'm going to call this flick. For now, I would like to bring a book more contrast into some of these flatter areas by punching them out with a bit of a black pattern. So I will go to this texture that we used before, which is obviously too big and the wrong color. There must have closed that down Apple Kala picker. Just find McGee. I can't just pick the color from here. So already you can start to see that this is gonna have some effect on the colors beneath. So take that down. Take your pasty right down, because I don't want solid blocks off black appearing. What about it? She bring this back up and just see what happens. That just gives a little bit more death. Teoh some of these planned areas of color. 9. Adding a Sun and Primary Stars: So for the stars, we will actually use shapes. And before I do that, I would just like to tidy up my layers here and are just group thes and call its nebula. So if I want to hide it, I can do that. So let's have a go creating some stars. And for that I will be using the shape tools. We have a startled right here which essentially draws a pentagram. We can change the number of points. I want four points for this and we can adjust the radius here just looking pretty good. We can adjust quite a few things here. We don't need a blue stroke, Chris. None for that. And just go with the thank color, which is this raspberry color here. So that's given us quite a big stare with the star selected weaken go to fix. And now we can blew the South a little, and it's looking pretty good. So far, Nothing we might need is some sort off son just to in that nebula they can't just get a feel for what we've got. And it does still need a little bit more where try penlight and see what that looks like that's a little bit brighter, and what we'll do is just use a few more shapes. So a little circle. And with that, we want to todo a lot slighter and again using the blue. We can make that look a little, but more star like so maybe I might just place it there. Thank God has placed this behind it, and I still think it needs a bit more. So let's see what we can do with the ethics panel. So just Suman so you can see what we're doing better. So with it selected, we can make it glow give. It's a Corona, and we can adjust the opacity of it to until we happy with it. You can also change the color. So Bechtel aha's. I think the stair could do with a little bit more works, and maybe I just duplicate that by copy and pasting and rotated on. And so the rotator. I'm just grabbing that handle there and holding down the shift key to snap it to 45. I had hoped in the Command K, which will be the cult K on one days and just projects that down to size So now go to the fix, handle and try ingredients overlay by clicking that cog. Open up, more options. Click Radiant! And now we can change the color travel years. Those take that Teoh fear beside him look color And maybe we can. That's a little orange. So now it doesn't look as flip as it did before. So there are lots of things that you can play with. I'll create a few more stars. I will speak this up because you don't need to see me creating each individual star. So back to the main star, I just thought of something else we can do with us, and that is to create a bit of a lens flare. So to do that, what we will do is create a circle. Remove the Phil like the stroke, uh, white and let's see what happened. So at the moment, we've got a ring. So we will go to select that shape goat with the fix, and we will look at one of thes fix here, so blue start to blur it right hat on. And that's actually looking pretty good. Very subtle. It might actually want to do two of these on, and what I might do is make a copy. So cool this lens flare. We will. People case Prinz flair to and with fit selected, holding the command key to keep it centers and the shift key to keep it in proportion. Now the thing is about fits New Orleans Fleer as it's a little bit thin, so we will increase the stroke and we will also produce the hope a city and I might actually take the size up through there and then go Tiu fix blue him just cleared at Haven bullets heads just a little war Subtle, Perfect. You here and just have a play. So we got a bit of a lens flare there might even adjust the size because we're not seeing much of it again. Holding down the command in shift keys so that concise is proportionately. What we can do is also change the color. Sleep so like that. Change it up here So she looks pretty good, bringing in some orangey times and we can still play around size. So that is just the hunts off a lens flare there. Start to sure about it. Maybe it's this one. It's to be a bit smaller, so that is one set of stairs. I just turned those on and off. It's a bit more life in character to the image, but what we're missing is all of thesis world tiny stars. So we will do that next. 10. Adding a Star Field: Well, I'm pretty happy with how this has turned out so far, but I think we need to add a star field first up, create a new pixel layer and does got the basic brushes selected here before we had texture . So I've gone for basic, and I'm basically looking for the really fuzzy brushes down the bottom. So let's just start with eight and see what effect that gives us honey to select the brush , Then select the brush type. And all I'm really doing is looking a few of these randomly all over the place. And, of course, we can change the colors as well. So I would go back to the apple Kala Picca and stick with the same sort of colors and see how they turn out. Let's try another color and randomly just place the's on this pixel layer, and we can vary the size. I'm not too sure what this one will do. Perhaps the intensity of the color could go up about. So increase the situation and don't just try outs, a larger brushes. Well, I think that's just about it. With these brushes, I do want to try something a little bit defense, but I'm not too sure what that is at the stage. So I'm just gonna have a look at some of the other pressures to see if there is anything interesting that we can use. And because of that, I will create a new layer just to experiment on it Looks interesting. It looks better on a smaller scale. - So we are almost done. I would like to show you one more trick worth affinity photo. And that is how to adjust the lighting on the moon. 11. Lighting the Moon: So we are almost done. I would like to show you one more trick worth affinity photo, and that is how to adjust the lighting on the moon. So with the moon selected, who will go up to laia live filter layer, hand down to the lighting filter? I'll just move this out of the way so that we can shine up onto the moon. So with this week, and actually just adjust the lighting on the moon and the angle. And if you don't want to play with these handles, you can just the savings on here as well, until you get something that you're happy with. So there's a shiny nous because that you do something quite dramatic. And if you want to give it that slightly purple e tone, they can move around here. Andi, maybe just about there. I think we, uh, done. I just want attended on often. See, that actually made much of a difference. He stood, and that's where there is tough 12. Your Project: thank you for watching this class. It's a little bit quickie, and I bet you're stumped as to what pancakes and moons have in common. If there is one thing I'd like you to take away from this class, that is to look at the world around you. For inspiration and unusual places. Explore the parents and everyday things and imagine how you can use them in your illustrations, like a photograph of any everyday objects. The surface of an apple using affinity photos, blend modes, hand fix you can create from an apple skin. A really convincing planners with you Tackle some or all of the listens in this class. Have fun with, um, and remember to post your project below. 13. The Creative Space Agency: introducing the Creative Space Agency. We are a team of skilled Chia teachers from around the world who wondered what we could do if we got together and collaborated on a set of classes that shared a common theme. Outer space became our theme of choice, and so the Creative Space Agency was born. Now launched an available on skill. Sheer. Please check out all of the following classes. So what is actually covered in each of these classes in the class? Let's design a rocket logo. Lindsay shows us how to practice and developer victor skills by putting a flat design logo to give it on. Adobe Illustrator Using illustrators shape, build a tall. You'll learn how to make complicated shapes with ease. You will also learn how to ed dimension and highlights to your logo, as well as mastering circular text to create your own amazing rocket logo. Indiana's Paint a child on the moon class. Using watercolor, Deana will show us how to draw and paint acute and simple card of a child sleeping on the moon. It's the perfect painting for a gift or to put in your child's room. And Jessica's loosen lively watercolor galaxy class, Jessica will show us a range of watercolor techniques such as lifting, keeping a whited and using contact paper masking all while painting beautiful watercolor Galaxies. And Chris is created Space themed illustration. Class Chris will show us how to turn a created pancake surface into a three D moon painter , nebula and stars and combined all these images until one stunning illustrations at the Creative Space Agency. We have had a lot of fun putting our classes to give her, and I hope you enjoy watching all of thumb and learning and awesome range of new skills. 14. Bonus - Gas Planet Quick Lesson: Hey, what about something a little different? Instead Off or in addition to your moon, you can also create a guess. Planet to create a planet like this one. Pop over to Jessica Sanders class, where you will find a listen on painting guests. Planet Stripes. Once painted, scan your stripes thin an affinity photo. Duplicate the slayer, flipped the layer vertically and apply multiple blend mode at a GLC in blue flat in your documents. Optionally. You can also add a vibrancy layer before exporting your texture map. Once exported, load the texture met and to a new material Justus We did with the moon and drake this onto the sphere. Render with transparency for importing and two affinity photo as a layer, or just render using the background provided on affinity photo. You can also add honor and out of glower. Fix to your planet. Good but fit, atmospheric look. And if you really wanna get carried away, go to the Mac App store and download Lens Flare studio with Lens flare studio. You can add an amazing array of lens flares. End it fix to your illustration