Efficient Texturing Workflows | Joash Berkeley | Skillshare

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Efficient Texturing Workflows

teacher avatar Joash Berkeley, Creative Director

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

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (43m)
    • 1. Introduction

    • 2. Inspiration

    • 3. Tools

    • 4. Getting Started

    • 5. Creating Textures

    • 6. Project & Prizes

    • 7. Technique One

    • 8. Technique Two

    • 9. Wrapping Up

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About This Class



This class is for anyone who wants to learn the quick steps to polishing their illustrations that are efficient! You don't have to be an expert illustrator, if you're interested in learning how to make your artwork look more finished quickly, this is the class for you. Also, look out for the monthly prizes! We will look at ways of creating depth with two texturing techniques that are geared towards getting you the most vivid results in the least amount of time.



Meet Your Teacher

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Joash Berkeley

Creative Director


Creative Director at Eido

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1. Introduction: Hey, guys. My name is Josh Brookly on the emotion graphic designer on illustrator from Trinidad and Tobago. With the past seven years, I've worked with numerous freelance screen of professionals on projects for a diverse body of clients. Some of my work has been featured by design platforms like Oceanographer Print magazine that will be the rookies on white visual storytelling is something I really love doing on so that I should also more TV. How illustrate my artwork in this class? I want to focus on texting work flows that'll make your illustrations look more polished under fight. We're not going to cover all the ways that you contract your artwork, but we look at some of the techniques I've come across that has helped me save a lot of time. Thats classes for anyone who wants to learn how to texture more efficiently, saving you a lot of time to meet deadlines on build some new techniques for your visual language on at the end of this class will be giving out some prices, so I'm really excited to see what you guys come up with. Let's begin 2. Inspiration: all right. Before we begin, I want to look at some inspiration. I think it's really good to learn through observation on, and this would kind of help us see what's carne in the industry. It's good to remain fresh, but also keep in mind you want to define your own personal style when looking at inspiration. So this website we're on is a dribble dot com. If you haven't heard of it before, it's basically online portfolio website that designers and illustrators use to kind of pull shots off their work. Some of it is just purely illustration be some of it is like parts off larger projects. But it's always good to see kind of like a small snippet of what other designers are working on. On dribble is really good because they have this popular section on their website. That kind of shows you a wide range of different styles and whatever is trending. Basically, each day is going to get populated here on it resets every night, so you're not going to see the same thing on the popular website or the popular sections are every single day. So it's good for like a continuous flow of visual inspiration. Also, it's really good to kind of have your own, I guess your own group off illustrators. Will designers that kind of inspire you? So, for example, I have, ah, lot of people I follow on on Dribble. One of those particular illustrators is all over sin. He's a freelance director, animator and illustrator on his work is just absolutely amazing. I love his text Oring on his illustration style. It's so amazing. For example, you can see, like, really delicate textures on this, this bush right here and even underwater. A lot of it has a very gentle application toe. All of the sheeps on is not is not about trying to excessively use textures, but you can definitely tell it enhances the overall image on Oliver has just perfectly monster texture ring on illustrating in general. So he's a huge inspiration to me and shuttle toe all over for just keeping up on Amazing Job. Really. Uh, another amazing illustrator is Sarabeth Hall, but she also animates on She's an overall amazing creative professional on Cat Lady and most mentioned God Lady, very important. But Yahoo work has a really some of it has, like a really harsh lecturing to so, like, for example, here you can see a very harsh statue toe some off, but a lot of it is very delicate. And again, with all detectors, a lot of it would look flat. And for example, this is really lightly texture. But still, it looks so good. Just, you know, seeing a light bevel on some of the edges. For example, on ho work is relieved with the tile. As you can tell, she uses like a really geometric style some and sometimes and then it can, like, literally be this organic. And, you know, she's really, really amazing. Another designer and illustrator I follow is Nathan Yeutter. He has this authentic pencil sketchy styles is we're gonna as such a unique look, you know, But if you follow him on instagram hey, kind of pull some of his work in progress and all of this is Han drone and scanned in. So he has just an exceptional ability to visualize sceneries on, you know, bring them to life. But I'm gonna show you guys some ways. You can get a style very similar to this as well. Another really unique illustrated. I follow as Michael for Goose. Oh, his work has a very three dimensional look to it on. Believe it or not, this is either vector or just. It was like a flat image initially on, he uses textures that kind of give them that polished look. For example, this looks this looks so photogenic. Almost. There's a very real on on, I don't know, tactile. Look to it. Um, if you look really closely has a kind of grainy texture inside of us which kind of pulls everything all together and have, like, a kind of cohesive looked his work again, I'm gonna show you guys ought to do lecturing Very similar to this, actually on my all time favorite right now is Mark Conlan. You can check his work out on Instagram. He doesn't pose much on dribble, but you can see, like, a constant flow of inspiration on his instagram. And he has this playful style to his work on. I don't it just It feels refreshing to look at a lot of his colors. A really vibrant and I don't know, I love it. Yeah. Go, Mark. So yeah, it's always good to have some desires that you have kind of follow to see, like what they're doing and again to remain fresh, but also to see what you like. What you don't like for me personally, I like a tune ish kind of style flat to needs that kind of similar to Syria. But I'm constantly inspired by her work, in particular as well as all of us in and has influenced my work personally. But it also helped me define my own personal style. Eso Yes. So, you know, find a group of designers and illustrators you admire and check all their work. Maybe make a mood board or develop a concept board for like what you like and don't like. 3. Tools: for this class of there are a couple things you'll need on a few things that aren't necessary but will make following along really easy. In terms of software, you'll need Adobe Photo Shop, which is dishonored professional tool from image manipulation. And you can get a free trial of for the shop for 30 days on adobe dot com. Or you can use gimp, which is an alternative to photo shop, and you can follow along using that. But in this class, I'll be using photo shop in terms of tools. You'll need a digital camera or a smartphone on an optional tool, but highly recommended is a drawing tablet of some sort. I'm using a week, um, pennant touch tablet. It's a small vision. You can get one of these on Amazon for $65. It makes some of the techniques you'll be using, more intuitive to do. Another optional tool would be to use footer shop art brushes. Some popular ones are Kyle brushes that you can get at Kyle brush dot com This super affordable for a lot of Russia's. I think $15 can give you 160 different brushes. I was gonna come in handy when we're working on. Some of the techniques will be using in this class, and that's pretty much it. Take some time to get those things. If you don't have them already on, let's start preparing for technique one. 4. Getting Started: things technique I'm going to show you guys involves using Image Beast text during its a relatively popular technique. But if not done in the right way, can become very time consuming. I'll show you guys a method. I've learned to make this into a really fast work for their two approaches to this method. One you can Donald Thatcher images off of the Web by the purchasing texture packs or simply downloading them off of Google. Now, one thing with this method, if you know you're gonna use this with client work, for example, you want to make sure you have permission on licensing that you appeared for the Texas that you're using. The second method is to use your smartphone or comrade to capture textures that interests you. Throw out your day, and this is the method I personally prefer because you're absolutely sure that your artwork is original. You won't have to require licensing on. It's absolutely free. If you guys are planning to go capture textures on your own, let's look at some tips and tricks that kind of maximize the results that you can get. So number one you wanna have a well balanced lighting throughout the image. This is gonna help because you don't wanna have too much of a gradation over it, in case you want to apply it to different shapes that kind of require a flat surface. Generally, you wanna have a wide usable area. Also keep in mind that this can be patterns or tactile surfaces. Literally. Anything around you can become a texture as long as it has contrast or depth to them. So I'm gonna go outside for a quick bed antics and photos of textures. That kind of standard to me, if you like to do the same feel for it opposes video on Follow along. All right, so you're back and ready to transfer those shots you've collected on your smartphone camera to your desktop. Andi. Start refining them into usable texture files. If you have an iPhone, you can simply transfer your images using Edra between your mobile phone on dMarc, a laptop or desktop. If you don't have an iPhone on Mac workstation, you can transfer your media using a lightning cable with an iPhone to a PC or a USB cable for an android to your PC or Mac. Sometimes I even email the images to myself. That's something you do, too. Once you've gotten everything transferred to your computer, let's make a fool of library That will be very important for force workflow. So in your dust up, you want to create a new folder called Textures and inside of this folder you want to create four more folders First one's gonna be would Second one's gonna be concrete. 3rd 1 is gonna be metal duty and you get the idea. You can go on and on with different categories of textures, Ari. So once we have that one, we're gonna close the folder and then duplicate the textures folder and name this images again. We're gonna create another folder and call this texture library. Take the 1st 2 folds that we made and put them inside of texture library. And now we have an organized texture library for both, Oh, images on our textures that we're gonna make transfer the images you just took into one of these categories that you've made. And then we're gonna tune these images into usable textures and photoshopped 5. Creating Textures: a lot off. We do as designers, illustrators, animators is kind of pulled from reality to create stylized stories, you know, so just makes sense to take some time to observe reality to get inspiration. I mentioned that because with textures, you can literally take anything around you on make it into a texture. So, for example, the photos I took was my carpet, my wall fridge, wooden shelves, tiles anything really, that has, like some form off tactile surface or contrasts can be turned into a picture. So we're here in photo shop now on, we're gonna import the images that we took. This is in the full, the library that we made cool texture library on images category. So I'm gonna use one from my concrete category on this one. Seems pretty good. All right. So, as you can see, it's a really well balanced shot you can see like any excessive lighting in any particular region. Yeah, there's a little gradation to them, but you know nothing. That's two major. That will kind of complicate having a continuous surface to work with. So the first thing we're gonna do is out an adjustment layer on. You can do that by clicking on this little icon here. Andi, we're going to choose levels. So what adjustment layers allow you to do is to make changes to the layers underneath them without actually destroying them? Know what that means is typically you can edit like this particular layer. So, like, if I was gonna editor levels by coming to adjustments, good levels on alter, this is gonna destroy once I hit okay, when I say destroyed, because you you can go back and undo. But the changes Pullman. And once you've done it with adjustment layers, you can just double top on these and you're gonna get options to alter everything underneath it without actually affecting the layer. So what we're gonna do is create some contrasts on we're gonna pull the shadows. This is a shadows Tuggle on. We're gonna bring up the highlights, and this is a highlight struggle. So nothing too drastic. But once we can get, like, a little more depth. So this one here is the mid tones, and you can kind of alter that too. Get it a little more. You know, Crisp. Basically, that's it for this image. I'm gonna save it. by going to file save as Andi in the full, the library remade. I'm gonna go into textures this time and in concrete been a name, this concrete texture one. And we're gonna change the file type two J pic and hit save. And that's pretty much it. So all you need to do for your images just repeat that same step. Make sure you have some you know, relatively good amount of contrasts in your image on you can use levels on adjustment layers to going to create that that effect. 6. Project & Prizes: for the project. In this class, you'll have two options. One. You can download the attached text during class package folder that contains the picket fence illustration I'll be using so that you can follow alone or feel free to use your own original artwork. You'll be required to use at least one of the chattering were close. I'll be showing you in the upcoming videos to polish and refine the illustration off your choice. Try to provide at least one response to another student's project. I'll be reviewing the posted projects to provide feedback as well and to answer any concerns with your work in progress. No, to make this little more fun, I've decided to give up some prices in this class For the next three months. I'll be giving out the new prize for each winner. This month, I'll be giving on 11 by 17 inch framed art print of my story Time illustration on a $25 Amazon gift card. To be eligible for the monthly prizes, you must post three process shots with your project displaying your workflow. The illustration you use must be your own personal illustration on not what I've provided. I'll be awarding persons whose projects them in ST creativity and understanding of the techniques, great use of composition and professional presentation. I'll provide a pdf with all of this information in the text during class package. I'll announce the prices for each new month once each month ends. All right, don't with that package and let's start texting. 7. Technique One: Once you have your illustration opened up in Florida shop, let's begin looking at the first taxing work for which is image bees texture. As I'm working, I'll be highlighting some key steps that make this work for efficient on help save you time . You're free to pause and go with some of the steps so that you can follow along as well. So I have the illustration of provided opened up here, which includes two variations to the design. One is day on, one is nights. I'm gonna use the night version for this class, but feel free to use whichever one you prefer. So the first thing I like to do is observe the elements within the artwork and decide what kind of sexual would work Best fij for this one. I think the concrete, actually we made earlier is gonna work really well, as they both have a similar roughness to each other. I also made a wood texture earlier today that was gonna come in handy for these planks that I have here in cases like these, having a texture library with tons of different textures are gonna come in handy on as you continue to expand on them is going to help you save a lot of time later on when you're ready to polish illustrations. All right, so I figured out which sectors I'm going to use where and now I'm gonna important the textures into the project. I'm going to go up to file and hit open. I'm gonna import my concrete texture to select everything. I'm gonna hold command on a or controlling me and then command, see or control and see to copy it. Next, I'm gonna pace the concrete texture over the moon layer. All right, I'm no. I'm gonna import my wooden sexually. I mean, a copy it on pasted right above the front clanks layer. It was going to rename these without. We kind of keep organized wooden on and concrete. Select these two and then right click and change them to yellow again just to keep really organized. All right, So the next step is to see, like, both textures and change the blending more to multiply. What the multiply blending more does is basically extract any shadow values from an image and then overlay it on the layers below. So, with both of them still selected I'm gonna drop the opacity down to 50%. That way we can see through our textures and were able to see where we're positioning them now will be clipping each shape by internal structuring. So what I want to do is duplicate each stature to match a number of shapes Architecture ing . So I'm getting uses concrete layer on the moon, Aziz. Well, as defense shadow on the backgrounds, I'm gonna need three copies of these. If you click and drag down to this button, you'll make a duplicate of that layer. Or for a shortcut. You can hold command, Andrzej or Control and J. So it is gonna put these over the layers that I want to clip. All right, I'm going to repeat this up with the wooden layer. I'm just going to use the wood leer on the front planks as well as the back planks was gonna duplicate that once and then drag it down to a back plans later. All right, again, I'm going to select all my textures and just change the caller to yellow. Now that all my textures away want them to go. All I need to do now is create a clipping mask for each of them on. I can do that by right clicking on a textural layer and then hit Create clipping mosque. I'm going to repeat this stuff for each layer on what clipping mosques do is basically created Stansell for the layer above on our texture is now confined to the moon Lier, for example, Here, some artists like this style of textural just, you know, overlaying taxes on top of the illustrations. But I'm gonna take this a little further so we can add some realism to create realism. We need to adapt your ships on to adapt or sheaves. We need to have a light source. Which brings us to the next step. Determine where light and the scene is coming from On any shape where the light is coming from will create a highlight, or moon is coming from behind and so, typically on object lit from behind will have a room light have already created room lights for you guys. So you don't have to worry about that. All we need to do is practice shading these textures. No, we're gonna layer masks to each of a textural layers by selecting the texture and then hit this button right here. Their mosques allow you to add veering levels of opacity to a Lear was all actually affecting it by default. The mosque that appears next to the lair is pure white, which means 100% capacity. This means that 100% black would mean 0% opacity. And just like that, this became a math class. So I'm gonna select my brush tool in my brush settings. I'm gonna ensure hardness is at 0%. You can toggle the size of your brush by using the square bracket keys on the keyboard. So what? The layer my selected by default or foreground color is gonna be white on a white background color is gonna meet black to toggle Between these two, you can hit this icon right here, or you can hit X on the keyboard. I highly recommend using the shortcut because it's going to speed up your world full significantly. So with black as my foreground color, I'm gonna gently reveal shape underneath to make the texture look like a shadow on the moon . So I'm gonna add a layer mask to my wooden texture. I'm gonna zoom in. So I can work really closely on these textures. I was gonna gently brush over them to kind of create a little bit of light on the edges, make my brush a little bigger, and possibly so the softness is gonna add a little bit of, ah, ingredient to the shape. Looks pretty good. Get a move on to my next one. Make this little small so it doesn't affect this blank. All right. Remember the fun thing about using layer mass? We can just hit X and then restore anything that you know any mistakes that we've made. All right, if you have a switch from your brush tool, you can hit be to get just get it back. All right. So you're kind of getting the idea for this method works on. We're going to repeat the same stuff for the back planks such earlier, so there's gonna be a little more light to the top right corner of these planks on. There's gonna be a shadow where these two plans will collapse. I'm gonna brush over here instead. Feel free to brush over it, How you want, because we can restore these later. I'm just gonna brush on top without even thinking about the overlapping, because I can restore them by hitting X, then just brushing over them again. Like I All right. I'm gonna repeat that step down here. So I'm gonna do that. No. With all offense. Shadow checks earlier. Add a layer mask on with this one. I wanna make the brush really big and then brush off of the composition so that it kind of gives you a softer reveal, like, maybe brush around here. Nice on. Gonna actually add a layer mask to my shadow as well on do a similar brush Gonna drop the apostle t of my texture for my back grown a lower to maybe like 30 With all brush selected We can drop the capacity of the brush by changing this year toe like maybe 30% I'm gonna gently brush over this toe. Add a little bit off variance to the bathroom. All right. I'm just gonna quickly clean this up using the techniques we just used. Once you're satisfied with the result, let's group each other men within the holier structure. I'm gonna see like the background on the concrete later on. Hold command on his G or control energy group, The backer on there. I'm gonna name this robbery on this repeated stuff. Each element within the layer structures to my fans shadow on that sexual. I'm gonna group it and called it Vince Shadow. All right, so we don't have anything clipped to this. So we're just gonna leave outside and we're gonna move on toe wooden shacks. You're here with the back planks. I'm gonna call that back planks in front lungs. All right. And there we go. So all we need to do now is save hit file on, then save a copy. Off textured illustration. 8. Technique Two: the next week, I'm gonna show you guys Hold. It's actually is by using brushes on This is my most used. We have sexual my illustrations. This technique is a hybrid between digital painting on sheeting on concave. You really nice results quickly. If you're using a drawing tablet now, there are ways that you can use the standard preset brush to shade, but it won't give you the realistic or textured look that we want. So this is why are Russians coming, honey. However, if you don't have art brushes, gonna show you guys a cool trick you can use with the standard preset brush that's really quick and easy to get great results. Once you have the illustration open, let's look at our second traction work full that uses brushes and sheeting will be using the day version. This time, the first step is is set up your color palette by using the adobe color themes tool, which you can find under window extensions on a topical themes. If you're not using foot a shop, you probably won't have this. All I will be doing is creating a call, a polit that I can pick from. You can do this by creating dots for each color within your composition and simply spot color. Pick each of them. This tool is super honey, and I'm surprised it's not as popular as it should be. Over here, you can create your own call. Apology changing each of one of these five colors. Watches, once I save one of these color palettes is going to see it across all my adobe programs. So, for example, if I open illustrate, I'll be able to find many of my color palettes in illustrator as well as off defects for no money meeting things. If you don't see this feature, you probably need to update your version of photo shopped to the latest one. So I'm gonna make sure my color setting is set to custom. You can use any of these settings to kind of create different called polyps. For example, monochromatic is gonna give you some suggested options for, like, purple here orange, so you can use any of those. But I'm gonna have, like, a custom call appalling. So I'm gonna look at my artwork on decide which colors would work best shadows on highlights. You can input the hex codes for each color. If you already know which ones you want to use on, I'm just gonna call a pick each of these and then use like a doctor color. Maybe this would work for my moon is gonna see that hex code. Then pieces are you. Just repeat that step with each one based, this whole docker copy and pasted this one and make this whole docker and paste it into my swatches. All right, this last one, I'm gonna just leave as white on the hex code for pure white is six efs. All right, look good on. I'm gonna name this the fence polit. And it's easy. What you want to do is CVT creative cloth library. So that way you can find it in all your programs. You know, we have a when you polit to kind of source calls from here First, I'm gonna work on this, son. So I'm going to click on the first color that I'm gonna use as a shadow on by hitting X Aiken. Trouble to my background call on Also select something that I can use here is Well, I'm gonna use the white as well, so I can just switch between these two for negotiating. Tuggle is down with my colleagues selected. I'm gonna open a new layer for my flu stature. About the shape I'm planning to clip it on. Go ahead and just clip the new layer beforehand so you can just focus on text oring, all of ones. I'm going to repeat that stuff each shape that I want o texture just so that we don't get lost. You I'm going to select all my texture layers. I'm gonna change the color to green this time. All right, So I my moon layer, I'm gonna make sure my fault grown color is set to they call it when you use as my shadow. Next. You want to see, like, the odd brush you want to use Have mind stored in a tools preset time that I have here. You can also find any of the odd brushes you've installed by click on this icon right here . So I'm gonna choose this polit knife. Converse brush. I'm gonna make sure I'm under earlier that I want to work on and begin by. Just brushing gently over is gently brushing Marie later. All right? And you can adjust your A posse levels to kind of give you something that you're satisfied with. I'm gonna just drop this down to, like, 60% on. I think that looks pretty good. No. If I want to add a highlight to the sheep, all I need to do is create another new earlier and then clip that 2nd 1 in a changing color again to green. So I can kind of see it inside my little structure on by hitting, except in total to my white color on just brush to the top. All right, I'm gonna drop this a little day. I'm pretty satisfied with that. And we're gonna repeat this step for each of over textures. So now I'm gonna work on the front planks on. I remember it created a color for just for that, I'm gonna see like that Zoom in, start brushing over Previously, we change all the texture, layers, blending modes. You can choose whether or not you want to use these. I'm gonna go ahead and switch it to multiply and then drop the opacity down to maybe, like, 50%. So I'm gonna repeat that step for the back flanks as well All right. So you get the general idea off of what we can do here with this texture. So different textures going to give you different results off course. But if you don't have our brushes, I'm gonna show you guys how to use the basic brush to get some really cool results. I'm gonna delete the texture half on my front planks so I can show you how to do it. And I'm gonna put a new layer and clipped that one. So this method is the method, like most commonly used on It's how I get my greenie texture on my illustrations. Most people tend to change the blending mode here to dissolve and then try to brush on top of it. Now where this can give you some really interesting results. It's not a rough cerise layer. So what that means is, if I drop the apostle he is going to remove degree in itself are not actually the capacity of the layer. Also, none of it is is warp bubble. So, like if I trying to change the scale of it is going to scale, kind of like, kind of funky, so it's not actually Rasa rise. It's a blending mode that is being used. I'm gonna delete this. Your recent I'm gonna show you guys how I get my intention illustrations. So up here you have a more presets. So once your brushes selected, you're gonna see this drop down menu that says normal. No. If you click on it, you're gonna see some options that are quite similar to the blending mode section up here. We have multiply, we have soft light. And those are like the common ones we'd find, you know, blending moons. But here we have dissolved. No one does. Mode basically is is how you apply the texture with a blending mode is more like how it's translated with regards to other layers. So this is more like an application. How does it apply to the actual artwork on this one is all it actually blends into the artwork so would dissolve selected. I'm gonna have my capacity upto 100. You can kind of see exactly what it's doing. We're gonna make sure my layer is set to normal. I'm gonna just gently brush on top of this to show you guys what's going on. As you can see we're getting this green texture. But if we are just the capacity is giving you the actual green information on. And it's not like a a recalculation of green or anything like that. This is actually rested. Rise onto the later. So I'm gonna play around with this texture on a kind of polish off the front area. All right. And there you go. I'm pretty satisfied with all this Tetrick you on. You can tweak and play with different textures or, you know, kind of find your own visual language. But this is where I'm gonna leave those two elements. I'm gonna do the shot. All right? So once you're satisfied with group these other mints again, this is old back. Earlier offense, shadow back planks. Thank you. Thanks. On always son there. So I'm sure you guys and techniques, but feel free to, you know, clean things up a lot of time with just exploring different styles on how you can maximize using this technique. But this is what I do for most of my illustrations. Use odd brushes and clip everything on. The reason why I clipped them is because maybe later on, I want to readjust one of these textures. I can always kind of play with them later on. But once you start, it's fight. After exploring with this method, feel free to guidance here. 9. Wrapping Up: Alright, guys, thank you so much for taking the time to join this class that you've learned a lot with too taxing workforce that we went through as I mentioned before. These are just techniques that can help you dive into polishing illustrations and making them feel really complete. But the possibilities are endless. I hope you guys take what you've learned here and really go above and beyond. Feel free to share these techniques with some other designers and illustrators that might benefit from it. We went through image based texture ring, which is a way to use real textures we've captured on the fly to build a texture library. We also learned how important working safely is by using layer mask on clipping mask so that we can texture and be able to go back, fine tune and even touch up over illustrations later on again. I hope you guys got a lot out of this class. I'm super excited to see the products you guys post. I know they're gonna be amazing on Feel free to ask any questions about the topic. Remember to give other students and feedback as well as it's always helpful to get each other's creative opinion. All right, Thanks, guys.