Illustration in Photoshop: Professional Work From Your Sketches | Anne Bollman | Skillshare

Illustration in Photoshop: Professional Work From Your Sketches

Anne Bollman, Anne Was Here

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10 Lessons (47m)
    • 1. Course Introduction

      1:37
    • 2. Getting Started

      2:15
    • 3. Sketching

      6:47
    • 4. Creating Your Base Illustration

      12:39
    • 5. Adding Details

      6:07
    • 6. Shading

      2:37
    • 7. Adding Textures

      5:07
    • 8. Finishing Touches

      2:56
    • 9. Making Color Changes

      5:09
    • 10. Some Final Thoughts

      1:20
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About This Class

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Design alongside illustrator and surface designer Anne Bollman of Anne Was Here as she shares her behind the scenes process for turning sketches into digital illustrations in Photoshop. Learn shortcuts, tips and tricks along the way that will streamline your design workflow. As a bonus, students can download Anne’s Photoshop Cheat Sheet as well as a Resource Sheet which include valuable tools for illustrators.

This class is perfect for artists, designers and traditional media illustrators who already know how to draw but want to learn to turn those drawings into professional level digital illustrations. More experienced students will benefit from learning new methods and tricks for illustrating in Photoshop to work more efficiently.

Transcripts

1. Course Introduction: Are you ready? Can I have a kiss? Thank you. My name is Anne and I'm an illustrator and service designer. I create art that's used for products and publications, some of which I create myself and sell, and others I work with manufacturers to produce products with my art on it. I'm probably best known for my illustrations of dogs. If you have a pet like me that you're obsessed with, you'll love the project I've chosen for this course, which is to illustrate your pet. If you don't have a pet its okay, you can borrow someone else's. This class will be great for people who already know how to draw, but want to learn how to turn those drawings into digital illustrations. It'll also be really useful for people who already know how to work in Photoshop but are looking to learn some new tips and tricks to streamline their workflow. I know I learn so much every time I see another Illustrator or artist's process in Photoshop, so I wanted to share some of my process. We're going to start this course by gathering imagery and brainstorming what makes your pet specially adorable. Then we'll use our reference material to develop a sketch of the little guy and finally bring the sketches into Photoshop to turn those into professional quality illustrations. 2. Getting Started: Other than Photoshop, the tools you need for this class are actually pretty simple. Just a sketchbook or sketching paper and pencils, a scanner so you can scan your sketches and bring them into Photoshop. Or if you'd like, you can sketch directly into Photoshop. You can use your mouse for illustration, but I highly recommend getting a Wacom tablet, which allows you to draw with a pen on the tablet, which is much more precise than using a mouse. This is the small one that I started with and eventually upgraded to a bigger model. Now, I work on a Cintiq. What's neat about the Cintiq is it allows you to draw directly on the screen. Before we dive in, make sure you go to the project details of the class and download the reference sheets I've provided for you. The first is a course cheat sheet, which includes a visual guide to the tools we'll be using, as well as shortcuts that will improve your workflow. They are listed in the order we go over them in class, so you can use the sheet to follow along. The second sheet is a shortlist of resources, some of which I mentioned throughout the class, as well as a few others that might be helpful to you. Let's start by gathering as many good pictures of your pet as you can. Make sure to get ones that show the angles you're interested in drawing, as well as some close ups of his or her face. Once you have the images in front of you, you can start to brainstorm a list of your pets best or most interesting features. The most obvious one for me is Midge's big ears. Next is probably her white tuxedo. Then there's her smooshy face. Another thing in common to all of these pictures is her sparkly eyes. One thing that makes her unique is her nubby tail. You can't see it in these pictures, but I'm going to include it anyway. I'll add her pouty lip, and also that she's generally pretty goofy looking. Now that I have my images and list of best attributes, I'm ready to start sketching. 3. Sketching: You should have your images still out in front of you, as well as your list of features so that you can keep those in mind as you're sketching. For digital sketching, I like to use sketchy looking brushes and I need to start a new layer. You can always use the brushes that are built right into Photoshop, or you can purchase some relatively inexpensive ones from third party sources. I love Kyle Webster's brushes and that's this one I'm using here is one of those. He's got wet media brushes, dry media. So far they're the best, at least, the best at a reasonable price that I've found that can emulate actual media in Photoshop. I'm just going to start sketching my dog. What I do is I look back and forth from all the pictures. I don't necessarily want to copy one picture. I want to use them all to give me inspiration. I tend to sketch really messy to start and then go back and clean it up later as you'll see. I'm going to command T and rotate this. I think I had it tipped a little too much. You can also go to edit at the top and transform. Then I'm going to start sketching her fat little body. This course should work for any style, whether you draw a really realistic or if you draw even more stylized and cartoony or graphic, it shouldn't matter. Then her tail probably would be out of sight, but I'm going to include it anyways. I usually like to because it's little stubby guy like that. That might be too high. Command Z or control Z until it goes away. A lot of times I like to exaggerate the size of her head and make it even bigger. I'm just selecting her head using the lasso tool. I'm going to command X which cuts it and command V, which pastes it and then command T so that I can transform it. I'm going to make her head and I'm just holding Shift and dragging so that it stays proportion and now just moving it. Then I'm going to actually merge those two layers because I cut her head out separate, which is you can do by selecting both layers and doing command E. I really encourage you to learn these shortcuts because they'll make you work so much faster versus having to go to the top of your screen to edit, transform, edit, cut, edit, copy. It really will make your workflow a lot faster. Then I'm going to go in and grab the eraser and start cleaning up my sketch a little bit. I am going to grab my brush again. Then I'm going to merge those layers again. I'm going to create a new layer. For instance, if I want to put a little bow tie on her to really complete her tuxedo look. Then on this layer, which is my sketch of her separate layer, I'm going to put a mask on it, which is this rectangle with a circle in the middle at the bottom of your layers palette. Then make sure that you have the mask selected and not the artwork part of the layer and the mask is a white rectangle next to it. Make sure you have black selected as your color. Then you can go and, I'm erasing details of my dog underneath the bow tie. The reason that I use a mask instead of actual erasers, because if I don't want, say, decided don't want the bow tie and see I've erased part of her. You can hold Shift and click on that mask to bring back what you had erased. This is why masks are beautiful thing in Photoshop because you preserve the original sketch or photograph or whatever you're working with and you can still cut things out without losing them forever. I'm going to keep it cut though. I'm just hitting Shift and clicking on that mask to do and undo it. I'm going to add to the bow tie a little collar. Now I have my illustration of my dog. She knew the belly. Just to show you that you could do a lot of different styles, I have some other sketches I did. Here's a more realistic sketch. Here is an extremely horrible but also a cartoony sketch. I did it so fast, it's embarrassing. This is the one I had done before that I actually like better than I think than my latest. The one I had done before is a little more stylish, so I might end up using this sketch that I had done. You can see she's wearing a sweater. What I wanted to show you guys there is this layer is a sweater. I should label these so I know what they are. This one is a hair bow. Again, I erased the parts over that underneath. But if I hold Shift and click on the mask, there is the sketch of my entire dog. Then if I want her to be wearing this sweater, I'll just hold Shift and click on that mask again. So say I don't want the hair bow, I'm going to go back into that mask and paint with white to bring her head back right there. I like the way she looks like that. For those of you that worked with paper and pencil, you're going to scan your favorite sketch and bring it in to Photoshop so that you can start illustrating. We'll do that next. 4. Creating Your Base Illustration: Let's bring this baby into a new file where we can start our illustration. I'm just going to do the rectangle selection tool and hit Command Shift C, which what Command Shift C does is it copies a flattened version of whatever is in your selected area. Then I'm going to go to create a new file, and I'm going to set it to inches, and I'm going to do 16 wide by 20 high and 300 pixels per inch. I'm going to set mine to CMYK, depending if you know what your end use is going to be for the illustration, you can pick RGB or CMYK. Because Photoshop works with pixels instead of vector data like Illustrator, it's really important that you set your file sizes quite large to start. Even if you're designing something small, like a small note card, I would set your file size much larger because you never know when someone's going to want to use that artwork for something else, like a large gift bag. Here's another example. This whale art was put on a little night light, but I designed the image much larger, and it's a good thing because it ended up on this large canvas. Let's start by doing Command V, we'll paste it. If you scanned yours, you can just bring it in by doing File, Place Embedded, and find the location of where you saved it on your screen. Then scale it, Command T, scale it to fit. Then what I do is I dim this layer, I take down the opacity so that I can still see it, but it's not distracting. Let's name this layer sketch. I'm going to create a new layer on top of the sketch layer, I'm going to grab my brush. This time, I don't want my sketchy brush. I'm going to go and just grab like a pretty standard smooth brush, and I'm going to adjust the size which you can do here, and drag it down, or you can also do it on your keyboard. I'm going to make it really small. The first thing I'm going to do is draw the outline of my dog shape, using my sketch as a reference. It doesn't matter if you have extra lines as long as they're on the inside, and you'll see why later. I'm just trying to get a clean outer edge. Now I have her outlined on a new layer, and I'm going to grab my magic wand tool, which looks like this fairy wand, and I'm going to click outside of the outline. You can see it selects everything around her, and I want to invert that. You can go select Inverse or the shortcut Command Shift I. Now you can see that the dog shape is selected. I can delete this layer with my outline, and what I'm going to do is go down here, and there's a circle that's half-filled, and click on that on the down arrow, and go to Solid Color. Then pick the color you want. The reason that I do this, I build my shapes with solid fill colors because it's really easy to change colors later. I found that this is the easiest way versus sliding a hue saturation tool which is really imprecise. By creating a solid color fill, you can go do this. Look at your layer pallets, see how the layer shows the color. If you double-click on that right in the middle, it pops up the color picker, and you can go and pick any color you want. Even by color libraries if you want to pick a specific Pantone color, you can do it that way. It basically has a mask on it. If you want to go and look at the mask, you click on the mask part of the layer and hit Alt, and then you can see the mask. If you want to paint or fix it, you just make sure you have that mask selected and not the color fill. I'm going to paint black, which gets rid of this little nail. If I paint black right through here, it gets rid of it. Then hitting X, which is my black to white, and I can paint it back. I make my brush bigger, like adding with white, and I'm going to hit x subtracting with black. I'm going to undo that. Basically it allows you to paint that color in Photoshop, and I can go back and adjust it. Anytime I can change the color, and I can change the shape. Like if I want to say, let's make her face fatter, all of a sudden, she has a longer nose, I can do that. Let's take the sketch and put it on top, and then I'm going to set it to Multiply. Then so I can see it better, I'm going to bump up the opacity a little bit. You can just play around with it. Then on this new layer that I created, I'm going to do that all over again. I'm going to outline, I'm going to make my brush small, I'm going to outline her little mug. Grab your magic wand, select it, do Command Shift I, delete the outline, do another solid color. I usually pick a similar color, but maybe a little bit lighter for now at least, so I can see the different shapes. Add a layer, let's do her eyes. I'm going to pick white, make it smaller, and select outside of it, Command Shift I, do a solid color fill. I'm going to make the other eye now adding a layer, drawing the outline of the eye. Command Z, your best friend in Photoshop to undo things. Selecting outside of it Command Shift I, solid color. I want to make sure the eyes are beneath the mouth. You can see how it's on top of the mouth right there. That one eye, there we go. That just put it behind it. Then what I'm going to do is draw a new layer, and I'm going to make her eyes black. This time, I'm not going to do a color fill, because it's just a smaller thing. I'm just going to literally paint it, and see how I'm painting it bigger? What you can do, make sure it's right on top of the eyeball layer. I'm going to hold down Alt, and you get this little down arrow. If you click in between the two layers, it clips it to it. Then I'm going to do the same thing. I'm going to add a layer above the other eyeball. I'm going to paint this eyeball in and clip it to that pupil to that eyeball. Then let's go and add the nose. I'm going to keep that as a drawn layer and I'm going to name it nose lines. Then add a layer underneath, that's darker than the charcoal my dog, but lighter than those. If I want to change that because right now, I just painted right on the layer. If I want to change that to a fill, you can select the layer by hitting Command, and clicking on it. Then I'm going to hide that, and do a solid color fill. That way, if I want to change the color of the nose, it makes it really easy. Then I'm going to go and delete all your outline layers to clean it up. I'm just deleting layers I'm not using now. These two are my nose, so I'm going to grab them both, and put them in a folder, and name it nose. Then let's add lines for her mouth. Here's her mouth layer, I'm going to add a layer above it. Grab my paintbrush. I'm going to add some lines for the details of her mouth. I don't think I'm drawing with solid black. I can change this to black by double-clicking the layer, going to Color Overlay, and then clicking on, leave all the settings as they are, normal 100 percent, click on that layer, and go to black. I'm going to call that mouth. Then I'm going to add another layer, and do little dots for her what do you call those? Little whisker pores? But the technical term is, I'm just going to call those dots because I don't know what they're called. I can select these three because I know there are all of the mouth, and make a folder, and call it mouth. Then if I turn that off, you can see they're all in a layer. I'm going to add a new layer. Let's draw her ears, and I'm going to make them a lighter charcoal color. Then I'm going to select outside, Command Shift I, select thing inverse, get rid of those outlines, do a new solid fill color. Now, really quick, I'm going to turn off my sketch, so I can see how it looks. Not bad, pretty simplistic. But I did that for us, so I could see how the ears look. What I'm going to do is this solid fill colors as a mask. I'm going to make sure I clicked on the masked part of the layer, and I'm going to draw with black, which deletes things to get rid of the bottoms of these inner ear portion. You can just adjust and you can go back and forth. If I switch to white, I can add back. I'm hitting x to switch to white and painting back some ear here. Then I actually am seeing that I want to do that for the base layer, her body. I'm clicking on that mask and making sure I have white and filling in a little right here. Let's go back, and we'll call this ears. I'm going to turn this sketch back on. Let's do her sweater. I'm going to add a new layer, pick this watercolor, let's make it a nice hot pink. I'm going over her body because we're going to clip it right to her body. I'm selecting outside of the sweater, Command Shift I to select Inverse, get rid of that outline, do a solid fill color. There's my pink, so now her sweater looks way too big. I'm going to drag this layer down on top of her body. We should name that layer body, and then I'm going to name the sweater layer sweater. What you do is hold down Alt again, till you get that little down arrow between layers, and click in-between, and it clips it to it. Now I'm going to go into this mask, but making sure you're on the mask. I'm going to make sure I have black because I want to get rid of where her leg covers the sweater. I'm just painting black right where I want her leg to be, and getting rid of that part of the sweater. Basically now we have all of our our color fills. You've got like a really, if I turn this sketch off, it's like a really simple version of your illustration. Now that I have my base illustration complete, we're ready to move on to the next part of class, which will be adding details. 5. Adding Details: What I do next is I go in and start adding more detail. I'm going to turn on my sketch and see. For the face, what I want to add are some lines and things to make it look a little more illustrated. I'm going to turn off my sketch actually because it's distracting and I'm going to make sure I'm above all those layers, and I'm going to grab my brush, and grab one of my brushes that I like to use for more sketching and painting and stuff like that, a rougher brush. Then I'm going to select, if you double-click the color picker and select a charcoal, I'm going to go like a darker charcoal so that you can see it, then adjust the size of my brush till I like it. I'm going to just add some sketchy lines. I feel like I made her mouth way too harsh. I'm going to go to the mouth and find that. I'm actually going to put a mask on that and paint it out a little bit so it's not such a thick harsh line. I'm just painting black in the mask to thin it out and make it a little more sketchy. Then this I'm going to actually get rid of because I want it to be, so I'm just painting black right over it. I'm going to go back to my sketchy lines layer, grab that color and make her little lip pout more charcoal, then I want to clean up some things. Here's the ears, see how there's this corner, messed up, so I'm grabbing my brush, making sure black is selected, going into the mask and painting that away. I'm going to do that here. Then I'm going to do the same thing with the mouth. Go to your selection tool, make sure Auto-Select is checked and the to layer and then you can just click on it, it brings you right to it. Going into the mask, and then I'm going to paint out some of this where it sticks out from my sketches. Then let's go to the eyes. I'm going to put the eyes in their own folder too. I like being as organized as possible. I'm going to add a layer above and have blacks selected. I'm going to paint just a little line above her eyes to help give her eyeballs more dimension. Got her eyes, her ears. I'm going to label this face sketches. Then I want to add to above her body some sketchy lines that may be matched the color of these like the dark [inaudible]. It's funny, I start with a sketch and then I add sketchy lines back in. If you want a cleaner look on your illustration, you don't have to, you can skip this part when adding some sketchiness to it, but I like it for mine. Then I'm going to go into the sweater, make sure you have black and see where it overlaps or knee a little bit, I'm going to paint that out. Then so these are body sketches. I'm going to add a mask to that, and I'm going to clean it up a little bit by painting black, getting rid of some of it where it's a little too sketchy and this one's a little thick, so I'm going to paint out a little bit by erasing some of it. Now, let's go and add some sweater detail. I'm going to click my color picker and grab that pink with the eyedropper and then get a darker version of it and turn my sketch back on so I can see what I did. I'm just going to emulate that. I'm going to go and add some details to the sweater. Sometimes it's okay depending on what your style is, if your lines aren't perfect, if they're a little wobbly. I tend to like my stuff a little wobbly and imperfect. I'm going to call those sweater lines.=, and then I added another layer, then I'm going to do the heart shape. I think this heart will be white, maybe to start. I'm going to draw heart and do the select command shift. I get rid of that solid color, white. I'm going to add a layer on top of it, grab the pink and add in some stitches as if the heart is stitched onto her sweater. The funny thing is my dog actually has a sweater like this. It doesn't fit her anymore, but truthfully, I buy things like that. I'm going to put that in a folder and call it heart. I'm going to move the body sketches right on top of the body. I'm going to go into the eyes because they look a little flat to me, and I like adding. I'm going to call this layer sparkle. Because my dog uses her sparkle to get whatever she wants from me. I'm going to go into the ears and I like the color of the mouth, so I'm going to double-click this fill color layer and I'm going to eye drop through the mouth to make the ears a little bit darker. Now, we have our base illustration, we've added some detail on top of it to help define parts of the dog. The next thing that I would do is add some shading to give it even more dimension, so that's going to be what's up next. 6. Shading: So the first thing that you can do to add some dimension is to add shading. There's a variety of different types of brushes you could use to do this. I'm going to use a watercolor brush to add shading to mine. I've just picked black, but I'm actually going to pick a charcoal that's darker, and just paint some shading. I'm going to add a mask actually to that layer. I'm going to go back in even with the same brush, and I'm going to paint black to get rid of it a little bit where I think it's too dark or where it's too obvious. Let's get rid of some of the contrast. Then I'm going to go back and click on the layer again, and paint back in, and then back to the mask and minimize it. So that's all on the body. I'm going to go and do the same thing on the mouth. So right above that mouth color film, I'm going to add a layer, hold down Alt, and click in-between to clip it. I'm going to pick a new color that's just darker than the mouth, and then add a mask by clicking the rectangle with the circle, make sure you're on the mask. I'm going to erase where I think it was too dark, paint over it, smooth it out a little bit. Let's add shading to the sweater. I'm adding a new layer, clipping it. I'm going to pick the same color as the outline by eye droppering my outline of the sweater, and just paint some shadows, add a mask, and just paint out some of it. Now that you've seen how I add shading to my illustrations, next we'll take a look at adding textures to give your illustrations even more dimension. 7. Adding Textures: Another thing that you can add to your illustration to help give it more dimension is the use of textures. You can get your textures in a variety of ways, you can take photos of textures that you like and use those, or you can purchase some that you're able to use. There's also some, if you search for free textures online, just make sure you read the fine print and the details and make sure they're okay for you to use. I have a couple of things here that I want to use. I want to use this for the sweater. I'm going to make it grayscale. I went to Image, Mode, Grayscale, just makes it black and white. Command A to select all, Command C to copy, and then I'm going to paste it. I'm on the Sweater layer, I'm going to paste it right above the sweater. I'm scaling it up so it covers the sweater, and I'm clicking on the Sweater mask to select it, and then I'm going to add a mask to the linen texture layer so that it cuts it to the sweater. Then you can play around with your blending modes to see which one works best. This one's Color Burn, it doesn't show up very good. Linear, I usually just go through them, usually there's a couple that always work. Color Dodge, that's not bad. Actually I like that one, it gives little white flecks and then if you want it to be more intense, I'm just going to double that layer. That's a little too intense. I'm going to play with the opacity of the one I doubled, maybe make it about there. That's a cool texture for my sweater, and if I wanted to add it to the white part of the heart, I can go into that. I'm going to drag the same, I'm holding Alt and dragging that here, and then I'm going to delete the mask by dragging it to the trash. Just don't Apply, just say Delete, and then I'm going to clip that to the heart. You can't see it right now, so I'm going to put it back at normal, and then I want it to be gray, so I'm just going to pull the opacity down so that the heart's a little bit textured. I'm going to actually Command T, put it at an angle so it differentiates it from underneath. So there's a texture for the sweater, what if we wanted to add some texture for the dog itself? This is, it's actually gouache or it could be watercolor texture that I painted. I'm going do the same thing and go to image mode and make it grayscale. I'm going to grab a chunk of it, and I'm going to go down to the body. But again, I would go through my blending modes and play around until there's one that looks good. If there's not, there's more you can do. I'm going to put it back at normal. I'm going to add another layer to darken it and put that one to multiply. Maybe add a few more so it's darker. I'm multiplying these layers on top of the watercolor or gouache, are the same thing, they're just on multiply, which makes it darker. Then I'm going to merge them together so that it's one layer and it's that dark, and then I'm going to go through again and see maybe multiply this time. It's hard with my charcoal. Overlay is not bad, it's just not dark enough. What I can do is go into my original color, I double-clicked that fill color and darken that, and that seemed to work. Now I have a little bit of texture, and I can do the same thing for the mouth and the ears. I'm dragging this layer and holding Alt and dragging this layer up. I'm going to add it to the mouth, just right above that color fill, and there it added the texture right there. It looks more painted, and I'm going to do the same thing with the ears, so I'm dragging a copy and holding Alt, dragging it, holding Alt duplicates it by the way. Then I'm clipping it, holding Alt, and pressing in between to clip it to the ears. I have added texture to my illustration. The next thing I would do to give my illustration a finished look, is to do some painting on top of it to soften the edges. 8. Finishing Touches: The last thing that I tend to do at the end is because I don't really like the sharp edges of this illustration, is I paint on top of it to try to soften the edges, and make it look little more hand done. I will add a layer above the body. I'll pick up the color and take up a nice paintbrush, pick a brush that I like, and maybe add some softer edges. Just parts of it, maybe not all of it. I want to soften this knee up a little bit, and you can do the same thing. I'm picking up the color of the mouth if I want to soften some of the edges. I'm Just basically painting on top. I'm going to call this painted edges. You can take the same idea with white, and soften the edges by painting over them too, deleting a little bit. For instance, if I add a background color, the problem is you're going to have all this white paintings, so if you don't want that to happen, what you can do is, get rid of those, put the entire dog in a group, name it after my dog Muji, add a mask, and then paint in the mask black to delete the edges, to soften. That way you won't have white, no matter what background color you have. If you go into the mask, you can see what I've done. Then you can change the background color to whatever you want it to be. I'm going to just leave it white. I think I'm all done with my illustration. I'm happy with how it turned out, but there's one more thing I want to do, and that's to go back to the list we made at the beginning where I brainstormed the best attributes of my pet to make sure we hit all the marks. Starting from the top, we definitely got the big ears. We didn't get the white tuxedo, but I'm okay with that because I have the sweater instead. She's got a smooshy face, sparkly eyes. I even got her nubby tail in there. Her pouty lip, and she's generally pretty goofy looking. There's one more thing I want to show you before we wrap up class, and that's how to make color changes. So that's what's next. 9. Making Color Changes: The last thing I want to show you is how easy it is to change colors in Photoshop when you use color fills as your basis for your illustration. Say you did this for a client and you show them the black Frenchie and they'd say, "We really like it, but we wish it was a cream Frenchie." The first thing you're going to want to do, I go find my body layer. I'm going to double-click that color fill, and I'm going to pick the cream color that I want to use. That looks good. I'm going to do the same thing. I'm going to have my selection tool and I'm going to up in the upper left corner, have auto select to layer. It gets you in the right place. Here in our layers palette is the mouth, and I'm going to just select that color that I used for the body, and then probably lightened it a little bit with my color picker, and do the same thing for the ears and lighten it a little. Then all I need to do is get these shaded layers by painted edges and things. You can double-click on them, and then do a color overlay. Double-click on this leave everything as it is, double-click on the color swatch. I'm going to eyedropper the color of my Frenchie, hit Okay. Let's get these lines, the face sketches. I'm double-clicking the layer, checking color overlay, double-clicking the color swatch. I'm eye droppering the Frenchie color and then making it darker until I see the lines and I think they're a good shade. Hitting Okay, Okay. Then I'm just clicking on the area where I have the shading, I'm double-clicking on the layer, doing a color overlay. Eye droppering my Frenchie color, making it darker till I like the shaded color. I'm going to do the same thing with the mouth shading. I double-click the layer, check color overlay, eyedropper, make it a darker shade till I can see it. I'm clicking on the sketches for the bottom of the body, double-clicking the layer, checking color overlay, I'm going to eyedrop all the sketches I did for the face, the sketchy lines so that they match. Then for the mouth, I think the mouth, actually these dots, those dots I did are a little dark, so I'm going to do a color overlay on those. Okay, and then the mouth. Do the same thing. I'm eye droppering. I think I want that to be a little bit darker though, and part of this nose. I'm going to do a new layer on top of the nose because I want part of it to be black and part of it to match the mouth lines, doing a new layer on top, I'm going to clip it by holding Option or Alt and pressing, clicking in between, and then I'm going to take my brush and eye dropper, that color of the mouth, make my brush a little bit bigger and just paint. I'm just painting over the black, covering it with the color I want. Let's say we want to change the sweater color. Go to the sweater, double-click the pink, say we want it to be teal, and then you can adjust my texture overlay is making it really washed out. I'm just going to turn one of them off because it actually looks good with one. Then I want to adjust the shading by doing a color overlay, and eye droppering that teal and then making it a little bit darker. I'm going to do the same thing with the sweater lines, double-clicking that layer, doing a color overlay, eye droppering, making it darker. Same thing for my stitches. I am just picking up the color of the painted lines that I already did. There really quickly, we've completely changed the color of our Frenchie. That's why I really like using color fills. Now that you know how to turn your awesome sketches into a professional level digital illustration, what are you going to do with them? There's so many opportunities, and that's what I'm going to show you next. 10. Some Final Thoughts: The last step for this class is to post your finished project in the Project Gallery. I'd love to see your original reference photo, your sketches, and then your final illustration. As an incentive to post it, I've included some bonus content which you can read about in the class description. Now that you know how to turn a simple sketch of your pet into a professional digital illustration, you can apply these same techniques to any subject matter. There is a lot of opportunity out there for your digital illustrations. To get you excited about the possibilities, I wanted to show you a collection of artwork that I did. I submitted this artwork to a manufacturer that I wanted to work with to bring it to life on products. Here are some of the products that we ended up designing together using my artwork. Thanks so much for joining me. I hope you got a lot out of this class and you're excited to get illustrating.