Fake It Til You Make It: Create Realistic Mockups to Promote Your Designs | Abby Hersey | Skillshare

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Fake It Til You Make It: Create Realistic Mockups to Promote Your Designs

teacher avatar Abby Hersey, I draw things. I make things. I love coffee.

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

6 Lessons (30m)
    • 1. Introduction

      2:15
    • 2. Flat Lay Mockup - Spot Graphic

      5:27
    • 3. Flat Lay Mockup - Pattern

      7:08
    • 4. Dimensional Mockup - Spot Graphic

      6:04
    • 5. Dimensional Mockup - Pattern

      8:37
    • 6. Conclusion

      0:45
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About This Class

Creating realistic product mockups is a great way for designers and artists to show their work to clients and potential customers without the expense of making prototypes. Whether you’re selling digital products, creating freelance work for clients, or pitching concepts to a potential collaborator, product mockups are an excellent way to add some dimension to your portfolio and to share your artwork in an exciting way.

In this class you will learn how to create simple flat lay and complex dimensional mockups for spot graphics and repeating patterns. Using Photoshop, I’ll show you how to save your mockups as templates for unlimited use - you only need to do the work once!

You’ll only need two things to participate in the class - some of your artwork and Photoshop. We’ll be working in Photoshop the whole time, and you’ll need version CS3 or later. If you don’t have an updated version of Photoshop, you can get a free trial here. Links to the stock photos used in the class are available in the project section so you can mockup along with the lessons, or you can use your own photos.

Meet Your Teacher

Teacher Profile Image

Abby Hersey

I draw things. I make things. I love coffee.

Teacher

 

My love of design began with the over-the-top, unquestionably 1980’s rainbow wallpaper in my childhood bedroom. It inspired in me a love of color, pattern, and shape that’s only grown over the years and has driven me to create engaging and inspiring designs of my own. I passionately believe in the power of illustration and design to transform spaces, simplify communications, and build relationships.

I was formally trained in graphic design, but most of what I use on a daily basis is self-taught, trial and error,  or learned from Skillshare, which is why I am passionate about sharing what I've learned, demystifying design concepts and technical skills through my classes.

When I’m not in the studio, I’m probably outdoo... See full profile

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Transcripts

1. Introduction: Hi. I'm Abby Hirsi, a surface pattern designer and illustrator based Sound of Columbus, Ohio. When I was first getting started as an artist, I wanted the credibility that comes from having your artwork on products. I also thought this would be a great way to pitch my design ideas toe art directors that I wanted to work with. Unfortunately, it would be really expensive to have products made up with your designs on them. I had a few items printed from spoon flour from Society six, but as a new artist, I knew we couldn't afford to get all of my designs printed into samples that I could send around art directors when I could. Dio at little to no cost was make realistic product mock ups in photo shop and used these to pitch my ideas by showing art directors concrete examples of how my work translated into a finished product. I got some of my best contract work. I also use mock ups pretty liberally on my social media and Web site. When I don't have new products coming out, it helps me keep people engaged and really does give a little something extra to your artwork. in this course, I'll show you how to make Several types of mock ups will use both spot graphics and patterns to create flat and dimensional mark ups. I'll show you how to save these mark ups as templates so that you can reuse them endless amounts of time with very little work. You don't need much to participate in this class. You just need some artwork and photo shop. You're going to need version CS three or later, and if you don't have a version that will work, you can get a free trial using the link in the class project information. Also included in the class Project section are links for all of the stock photos I've used in the mock ups. These are free, and you can use them as many times as you like in whatever ways you like. But you're also welcome to use your own photos for the class 2. Flat Lay Mockup - Spot Graphic: the first type of mock up will be making is a flat lay mock up of a spot or placement graphic. Ah, Flat Lay is just a fancy way of saying all of the items are laid out flat and photographed from above, and a spot or placement graphic is artwork that's meant to be placed on some things. Sounds simple, but it's something with no background. It is something that isn't going to cover the entire surface of your product s. So keep that in mind when you're selecting your art. I've gone ahead and opened up the note card stock photo that will be using and the first step is to draw a rectangle that's roughly the size and shape of the note card. I can always adjust it later, so I'm just kind of guessing. So I have this rectangle. I'm gonna come over to my layers palette and right click on the layer and convert it to a smart object. Now I can take this and place it on the card. I can transform it by rotating it and lining it up. I'm gonna knock back the opacity a little bit so I can see what I'm doing and I'm focused on getting it really a straight as I can. For now, you'll see what some of my edges aren't lining up a swell as they could. So what we're going to do is go to edit, transform and work. Since the card is not a perfect rectangle, my shape shouldn't be either. And using the warp tool gives me all these different points, but I can adjust to the contours of my card. Since we're using a spot graphic that isn't gonna fill the whole space. I don't have to be incredibly precise, but I want to get it as close as I can. Pretty happy with that. And so now I'm going to double click on my rectangle layer, and this opens a dialogue that says, After I make any changes, I need to hit save. I don't need to see that again, but I'll leave it for now, and this brings me to my shape the way it was before it was transformed. Go ahead and hide that rectangle because I'm not interested in having that on my card, and I will grab my artwork. My artwork for this card was created an illustrator. So it's a vector file, and I'm just gonna copy and piece it. If you created your artwork and Photoshopped, same thing you can copy and piece it. What's most important is that your artwork has a transparent background. So I've tasted my artwork, and now I'm going to size it where, like to me and learn it up roughly where I would like to be on the card. Once I'm happy with that, I'll hit command S or control s to save and close out of this. You can see that it's appeared on my file. It's still a that lower rapacity. So I'm gonna go ahead and increase that 100%. It looks pretty good. One additional step that I'm going to take is to change the layer type here from normal to multiply. What this is going to do is to allow the texture of the note card to show through, and it really makes it look like the artwork is on the card, as opposed to just plopped there. Now that I have this done, I conceive it out as a J peg and or whatever you favorite file format is to use on your website or your social media, but I can also save this photo shop file as a template to use again. And when I want to put different artwork on this note card, I just come in and double click that rectangle air and swap out the artwork. So it'll save me a lot of time the next time I want to mock up a note card. If I save it as a template to do that, I'm just going to hit command shift save to save as I'm gonna save it just a za Photoshopped format file. With all of the layers checked, I'll say that the template folder so that I can use it again in the future. 3. Flat Lay Mockup - Pattern: our next mock up is going to be another flat lay mock up, but this time we're going to use a repeating pattern instead of a spot graphic. I've gotta hadn't opened up the notebook image that I'll be using for the step and you'll see there's a lot of empty space that I don't really need for this mock up. So I'm gonna go ahead and crop it down to focus just on the notebook. Keep the pen. This is all I really need. The other file that I've opened is my seamless, repeating pattern. If patterns aren't something you're comfortable making, I teach a photo shop class on an illustrator class on how to create a seamless repeating pattern. But for this exercise will assume you have artwork for a pattern and just go ahead and open that photo shop. Gonna select everything on my canvas, go to edit defined pattern. I'll give this pattern and name and click OK, that adds it to my pattern preset menu, and I'll be able to grab it when I'm working on the mock up. I'll go back to my notebook file, and what I want to do is select the part of the notebook that I'm going to fill with that pattern. This notebook has an elastic strap on it, and I don't want the pattern to appear on that strap. It will be more realistic if the pattern looks like it's running behind that strap. So I just want to select the actual notebook cover, going to use my magic wand tool to grab this. And you'll see that since that elastic strap is the same color family as the notebook itself, it picked up parts of that in my selection. But I can refine that. So this is OK. I'm mostly concerned with getting the edges pretty good again. I can refine them a little bit, but I'll go ahead and start with this in order to change this shape a little. I want to work with it in quick Basque mode, Uh, and what I'm going to do as my first step is go to select and in verse, and what that does is select everything except that notebook cover. It just reverses the selection that I had on the left hand side. I'll click on edit in quick mask mode and you'll see this red shape is the area that will be filled with the pattern going to use the political lasso tool to cut away the red that's covering this strap so that it removes it from my selection. You can use whatever tool your most comfortable with the political lasso does. Nice straight lines, but not a straight as if I used, like, a selection box. Eso. The fact that this strap isn't perfectly straight isn't a problem. It picks up on that. To get rid of that, I'm gonna hit Command X or Control X if you're working on a PC and now the strap is not included. I do see that the areas here at the far edge of the notebook aren't as clean as I'd like them to be. And so I want to kind of add to my selection this time. To do that. I want to make sure that black is my foreground color here in my color picker, and I'm going to grab my brush tool, which is massive. Let's make that a little smaller, Suman and just tidy that up a bit. It's giving a little messy, so I'm gonna exit my quick mask mode and invert my selection again. So it's just the notebook. And then I can go to select and refine Edge and just shift these a little bit to grab some of that extra stuff and smooth out the edges, just a little bit click. OK, we go back to my selection and I'll throw in quick mask mode just to see it's moved that out pretty nicely. I'm happy with that. So leave quick mask mode, and the next step is to create a new layer with my pattern. Keep the selection. Don't de select Click up in your menu on Layer New Phil Layer and Pattern. You can name this layer. I'll name it notebook cover. Click OK, and it filled in that selection with the most recent pattern I used in photo shop in this case, the one that we just created. I'll go ahead and click OK on this, but I do have the option Teoh. Increase the scale or decrease the scale. But I was happy with it at 100% so I'll leave it at 100% and click OK now I'll change my layer kind from normal to multiply, and that really lets the texture of the notebook show through. There's a whole lot of texture to this notebook, but you could see that it just felt like the artwork was placed on the notebook. Go back season. See again. This is before I multiplied my layer and after really gives it a little something extra, I can now save this as a template, just like we did with our first mock up, so that I can use the gig if I want to use in the future and change out the pattern. All I have to do is click on this thumbnail here that shows my pattern double click it, and I can then review all the patterns in my library and select differently. 4. Dimensional Mockup - Spot Graphic: for our nets mock up. We're moving on to something a little more complex. This is a T shirt and will be using a spot graphic on the front of the shirt. The shirt is pretty nicely photographed, but there are some folds and some stretch to the fabric, and we really want to capture that. It'll give some realism that we didn't need when we made our note card or notebook. In order to do that, we're going to start by creating a displacement map. A displacement maps sounds complicated, but really, it's just a version of this photo that we can use to tell photo shop how to kind of distort our image. What I'm going to dio is go to image adjustments and levels. I'm going to make sure that this is as high contrast as it can be, really showing those folds well, not concerned about anything in the background of the image. I'm just concerned about what it's going to do here to let's the shirt itself. Once those folder nice and dark, I'll click OK, and I'm gonna go to my adjustment panel, select hue and saturation and go ahead and take the saturation all the way down, effectively making this a grayscale image. Gonna go ahead and save this as a Photoshopped file that I can refer Teoh later on in the mock up. So I'll just name a T shirt displacement map. It's safe. Go ahead and close out of that and reopen my unedited T shirt file just like we did with E Flat. Lay mock up. We're going to create a smart object that represents our artwork. I'm using artwork that is rectangular and about this wide again, just kind of guessing and adjusting it to fill. Fill the shirts, gonna right, click on my layer and convert it to a smart object. If I double click, then I can get rid of that rectangle and insert my illustrator artwork copy and paste again . If your artwork was created in photo shop, that's fine to just copy and paste it into the smart object and adjusted for size and placements. I didn't save that and close it and you'll see that my artwork is on the T shirt change my layer to be multiplied and all of those white spaces air gone now, and you can really see the texture of the T shirt through there looks pretty convincing already, but the artwork really needs to move with some of these folds, and that's what our displacement map is going to do for us. In order to make use of our displacement map, I'm going to select the layer that contains my artwork and go up to the filter menu under Filter. I'm going Teoh mouse over, distort and then click on Displace. It comes up with a default scale, horizontal and vertical, and this is basically controlling the amount of movement that photo shop makes from your displacement map. This could be adjusted based on how how it works. When you try it, I'm going to go ahead and try it at five and see if we need to make it a little bigger or a little smaller. We'll click OK, and it will prompt me to open my displacement map so I never get to my T shirt displacement map that we made and I'll click open and you can see the artwork shifted just ever so slightly. I'm gonna undo and redo that so you can see the difference. It's subtle, but it really does add a little something extra. So here's before the displacement map, and here it is with it. It has just shifted in some of these areas with the folds by a little bit again, I could make it shift more by increasing the number in my displacement choices. Uh, but I'm pretty happy with helpless. It's not supposed to be a big to do. It's just supposed to give it that little additional realism. For example, if we went Teoh 12 let's say it's seriously moved it, and it starts to blur the edges at the bottom. So we'll go back Teoh, where it waas. And then I can save this out as a J peg or PNG or whatever I need for social media or sending to a client. 5. Dimensional Mockup - Pattern: Our final mock up for this course is going to be the most challenging yet. We're going to apply a pattern. Phil Teoh a dimensional mock up. And while most of the steps remain the same as what we did for our flat lay pattern mock up , we're going Teoh. Add the displacement maps element we used in our T shirt. Mock up Thea. Other thing that makes this a little extra challenging is the image itself. Sometimes it's just impossible to find a stock photo that fulfills all of your wishes. I wanted a photo of a white dress that didn't include a crazy textured pattern. Eso that my pattern went applied would look like it really was the fabric of that dress. I came up with nothing, and what I did find was kind of this light orange dress that fit all of the needs except on its orange. So one of our steps will be to take this dress and make it white. What will start with, though, is creating our displacement map just like we did for the T shirt. Mock up. I'm going Teoh, adjust the levels in my file and make sure those folds in the fabric are nice and bold. I'm going to take my saturation all the way down and then saved this photo shop file as a displacement maps to use. When we get to that stage, I've gone back to the original image of the dress, and I'm ready to start selecting the area I want to fill with Pattern going to use the magic wand tool to get started, but will probably need to do cleanup in quick mask by holding down the shift key while I use my magic. One tool I can add to the area I've selected. This will help me capture most of the dress. Before I used the Quick Basque, - we'll go ahead and quick on my click maps and just clean up these few areas where I'm still singing. But my selection is not perfect. - Once I'm happy with my selection area, I'm going to use the paint bucket to fill this in with black. We'll never see this black. We're just going to use this as a an easy way to grab this selection because we're gonna need to use it twice in the next steps. Once I'm happy with my selection I'm going to use the paint bucket to fill this election area in black. We're not ever going to see the black inner finished piece, but it's there to make the next couple steps easier. I'm gonna go ahead and drag that layer down to the bottom of my layers palette so it's not visible. With this area selected, I'm going to click on the image of the dress in my layers palette and then choose a hue and saturation adjustments. I'm gonna go ahead and take the saturation all the way down and then bring my lightness up a little bit, and now you can see we have the white dress I was hoping to have. I now need to create a new pattern. Phil Layer in the same shape is that dress. And that's why we made this black version so I could use my magic wand tool and easily select that area even though it's not visible. With that selected, I'm going to make a new film layer layer new, fill their pattern from call this dress pattern and then select the pattern had, like, two years, we'll click OK and it created this layer down towards the bottom, so I'm going to drag it all the way to the top of my Lakers palette. As you can see, it's still pretty flat looking. We need to change the layer kind from normal to multiply, and now you can see that it looks like it's just laying on the dress. I'm going to double click my pattern swatch and adjust the scale just a little bit. Get it right where I'd like to be you and click OK, this is the point where we would save this file as a template for future use. Once we add the displacement, map will no longer be able to alter our pattern because a pattern Phil is an active thing in photo shop. It won't let us use that displacement map until that pattern has been rast, arised or turned into pixels. Because I don't want to go through all of the hard work of selecting one dress and changing the color of the dress. The next time I want to save the template now and now I'm ready for the displacement map. I'll select the layer that has the pattern go to filter, distort and displace. It pops up and tells me that it must be Rast arised and I'm gonna click, OK? And because the full did this are a little more dramatic than what we saw on our T shirt. I'm gonna increase this just a little bit and click, OK, we'll navigate the displacement maps we made in the first step. And again, it's very subtle that you can see how the pattern sinks into the folds to go backwards. This is our artwork. Before this is our artwork with the displaced that map the flowers along the folds just kind of blend into those folds in always that they didn't previously. It looks really good. I can now save this image for use on my website or social media or to send to a client and really impress people. 6. Conclusion: Now it's time for you to share your project with the class. Your assignment is to create a realistic product mock up that showcases your artwork in an exciting way. It will also give you some design streak red. If there is such a pig, please share your finished mock up and your original artwork in the project section. Practice makes perfect, So I would encourage you to try more than one type of mark up and try every using your markup template with different artwork. I'd love to see notes about your process and how you intend to use your finished mock ups to market your work.