Photoshop Drawing Course ▶️ Part #3: Materials Study | Xenia Sorokina | Skillshare

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Photoshop Drawing Course ▶️ Part #3: Materials Study

teacher avatar Xenia Sorokina, Illustrator & Graphic designer

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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

12 Lessons (3h 2m)
    • 1. Introduction

      0:53
    • 2. Theory

      7:41
    • 3. Plastic

      10:29
    • 4. Wood

      16:57
    • 5. Stone

      18:20
    • 6. Metal

      10:38
    • 7. Crystal

      25:53
    • 8. Final work: Sketch

      5:33
    • 9. Final work: Base colors

      3:48
    • 10. Final work: Rendering crystal

      18:50
    • 11. Final work: Rendering stone

      37:01
    • 12. Final work: Rendering wood

      25:28
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About This Class

This is the 3rd part of the Photoshop drawing series.  If you haven't seen the previous classes of this course, please, check them out first, because the knowledge we’ve gained there would be needed in this part, as well. 

Into this class we’re gonna be exploring the materials.

During the class we'll discuss the characteristics of the materials, find out the difference between visual and physical texture, and create 5 main materials. 

At the end of the class, in order to apply the received knowledge, we’ll complete the final full-fledged artwork.

For this class, and for the whole course in general, ideally, you should have an Adobe Photoshop and any kind of graphic tablet.

                                                          

Previous parts of the course:

▶️ Part #1: Linear Perspective

▶️ Part #2: A Theory of Light And Shade

Meet Your Teacher

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Xenia Sorokina

Illustrator & Graphic designer

Teacher

Hello there!

I'm Xenia, and I'm an illustration and graphic design enthusiast. I know firsthand how complicated and confusing the new software, tools and simply learning new skills could be, so I'm here for all the neophytes and enthusiasts to help you with learning new things. 

So if you want to learn something new or refresh already known but forgotten knowledge about Adobe Illustrator, Photoshop, Procreate and digital illustrations in general - you're more than welcome to join the creative journey!

 

See full profile

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Transcripts

1. Introduction: Hello everyone, my name is senior and welcome to the third part of the Photoshop draw in series. If you haven't seen the previous classes of this course, please check out them first because the knowledge we gain there would be needed in this part as well. Into this class, we are going to be exploring the materials. During the class, we'll discuss the characteristics of the materials, find out the difference between visual and physical texture, and create five main materials at the end of the class in order to apply the received knowledge will complete the final full-fledged work for this class and for the walkers in general, ideally you should have an Adobe Photoshop and any kind of graphic tablets. But the knowledge you'll get, you'll be able to apply in any other graphic software or even traditional materials. So if you're ready, let's begin. 2. Theory: In today's class, we are going to be talking about the materials. And before diving into the concrete examples, we need to learn a bit of theory because it's easier to learn the basics then to learn how to draw each exact material that you want to depict. So every material has a few characteristics that can help us to draw it. The first characteristic is that zone and the brightness of the material. So here on your screen you can see two spheres. One of them is bright and the other is dark when we're talking about the brightness and so on of the materials, we're talking about two things. On the one hand, there's the absorption of the light, which is more common in the dark materials. And on the other hand, the reflection of the light, which is more common in the light materials. So each material follows its own rules depending on its own, the Brighton material will be more reflective. For example, if a has an object that is made of more than one material and its companies have different zones. We can treat this object and each diverse companies the same way as if it was made of one material. These white stripes have the same zone as we have on the white sphere. And the black ones are the same as we have on the black one. We need to treat this object the way it has different zones so we can dark in this bright segments and we can't add more light here on the dark sites. We need to keep in mind the specifications, all the complex objects. The next characteristic of the materials is the retro reflection, and it shows how reflective the material is. Roughly speaking, our materials can be glossy or matte, but more likely they won't be a 100% glossy or matte. They can be in any part of the scale from gloss it summands. Now on your screen you can see two met objects and let's see how we can turn them into the glossy ones. Let's begin from the white sphere. The glossy materials will have very precise highlights and very precise reflected lights. So let's see how it will look. We'll take the soft brush being the lighter color, and according to our light, will make the very bright and very precise highlights. Let's repeat it on the black sphere as well. And if, for example we have not just one lead source will have more highlights here because our material is very glossy and has been said before, the glossy objects will have non just very precise highlight. It will also have the very precise reflected light on the board. Some, Let's add the reflection to both spheres will take the L lifecycle market tool, make the selection and adjusted. We need to add the light here on the bottom, but now we can work only inside the selection. So to invert the selection, let's click on it with the right mouse button and peak select inverse in the drop-down menu. And we can freely work in the area we need. Take the basic soft round brush, increase its size, go to the right layer and log the transparent peak cells, decrease a brightness a bit and very slightly paint over the selected area, thereby creating the reflected light. Rubin, This same on the black sphere, get back to the market, Sue, transform the selection and move it to the dark elements. Take the brush, go to the right layer, decrease a brightness lamda transparent pixels, and make the reflected light on the boards. And now we can deselect everything. And that is how we can make the glossy material out of the met one and vice versa. We can make this fierce met again, if we needed the Met objects, one had the very precise habit, it will be blurred and more scattered. And they also won't have such a bright and clear reflected light, it will be also blurred. Now let's see how our glossy and met materials would reflect the surroundings and the environment. Each material reflects the surroundings in some ways. So for example, if we put some object NEW AO spheres, it will be reflected on the surfaces and this object is known the light source. Let's start from the white met sphere. On the Met object, we don't have a very precise highlight, but it still will be reflecting the surroundings. So let's take the basic sold brush and create a scattered reflection here on these sites. And now let's see how it will be reflected in the black glossy material will take the round brush, decrease its size, and we'll have something like that on this surface, we have a very precise highlight and we have a very precise reflection on the black sphere. And to sum up, the amount of reflectance depends on the material characteristics. Now let's move on to the third material characteristic. And it would be the context and the color. Previously, we were drawing the elements in some kind of the void because we haven't paid attention to the surroundings and it's not like the things work in real life. So as an example, we have these fear. Also. We have some black and white background, which isn't any how connected with the objects. And the, for example, we'll take this object outside or it will start to input the new variables such as sky, the atmosphere, different light sources. If we'll add some surroundings, the rules for the object will be a difference if it take it out, has been said before. And if we now have the Skype, For example, we will see that the object doesn't belong to the surroundings. So how can we fix it? We need to reflect this guy in the surroundings onto our own object. Let's make the New Layer and big the blue color. We can use the same blue as we have on this guy, but we need to make it a bit darker because the gala will diffuse and we need to add the scholar to our surface, thereby aiding their reflection to our old object. And also, we need to add the reflection on the bottom part because there might be a table or any other bright surface which are object is sitting on. As we have the glossy material, we need to translate it through the reflected lights. So it will look something like that. And the last but not least characteristic of the materials is the texture. The texture can be visual like here on the left, and the texture can be physical like here on the right, led Chicka examples to see the difference. The visual texture is just the color change or the pattern. It has no influence on the shape. It doesn't depend on the light direction implied NGO, physical texture in turn has no influence on the pattern. It affects the shape by forming some relief. Every convex or concave part will affect the shape plus physical texture depends on the lights. Here we can see a little diagram that shows us how the light will strike our surface. We have the relief here and that is how the light will go down. It effect the surface when it hits a protrusion. We will have the highlights. And on the other hand, the parts with no lights will be in the shadow. So we need to keep in mind that textures and we need to analyze the lights. These were the main characteristics of the materials. And by knowing these basics, we can apply the knowledge and create almost any material we want. In the next part, we will start exploring the concrete materials one-by-one. 3. Plastic: So let's move on to draw in the concrete materials and we'll start from the plastic here on your screen, you can see the outline of the cube in the color palette that we are going to use. If you prefer to create your own color palette, you are totally free to do this. We'll start by A1. Then you lay between the color palette and the cube lines. Here's our newly and let's start A1A zones for our cube. As we have the gradient background, we want use this sample or less checkbox. We're going to be working with a cube lines and with a magic 12. So take the magic wand to make sure that sample, Ollie's is unchecked. Go to the layer with acute lines and start selecting the faces one by one and filling them with color. Let's start from that soap. Select the face, go to select, modify, expand, and expand the selection by one pixel. Now get back to the layer where red going to be adding that zones BIG the darkest color, feel the selected area. And when it's done, deselect this area, go to the cube lines layer, sake the magic one tool, and select the next face. Go to select, modify, expand, and expand the selection by one pixel, gets back to the layer with its Ohm's, select the next sample and ended zone for the face deselected when everything is done and repeat the same steps once again for the last phase, guilt as a QP line slayer and with a magic wand to select the last phase, go to select, modify, expand, and expand. The selection gets back to the layer with its own peak, the last sample, and feel the selected area with color deselect error when you are done, very might have a question, why is it so phase of the cube, the darkest one, these cube is glossy and that's why we need to pay more attention to the surroundings, neither then the lights and the sheets. The only surrounding we have here is a descendant from dark to light backgrounds. So in that case, in order to exaggerate the glossy effect, we are making that soap phase the darkest. The next thing that we need to do is to get rid of the cube lines. We can either highly with the cube lines or we can do the following, unhide the layer unlocked and decrease the capacity to 0%. The result will be the same. But if in the upcoming future will need to select the faces, we still will be able to do it with the magic one SUE. When it's done, let's move on and let's start making this cube more plastic alike. Get back to the layer with its own sake, the heart round brush and decrease its size. Big the brighter color. And let's add the beveled edges for our shape. Now we can log the transparent pixels or we can try to work more carefully for the first beveled edge. Let's log the transparent pixels, and let's draw one straight line on the conjunction of two planes, as we already know from the previous parts. If an object has one beveled edge, a vet means that it will have the beveled edges on the other side as well. So as we now are talking about the plastic material, we need to make the object look a bit more glossy by aids in the dark ages for these two faces. So let's decrease the brightness and start from the vertical edge, I will lay is locked but transparent pixels. And if we add the line now, we still would have this wide gap between the faces that's happening because when the transparent pixels are logged, we're working just with a color pixels on this layer. And the wide gap is a leg of the peak cells. So we need to fill this gap, unlock delay, and end the beveled edge. Maybe not that super black, make it a bit brighter for this site, thereby kinda smooth in the faces. Let's say it would be 14% of the brightness and the last beveled edge is going to be a B darker. Now let's make our shape a bit neater. Work on this intersectional corner and make sure that the beveled edges are affected our shape. We can cut this vertices by using the erisa two or by using the polygonal lists at PSU. For now, let's just take the areas that to encode the vertices of this shape according to the beveled edges. When we're done cutting the corners, we already have the pretty believable plastic cube, but we can add a bit of physical texture, such as cut outs inside the Shape. Let's give it a try. Logged the transparent pixels sake some brighter color. And according to our perspective, we'll add a few lines going through this shape. You can repeat the direction of the lines that you see on your screen. Or you can make the lines by yourself. Just don't forget about the perspective. You can add as many lines as you want and in any direction you want. I'm going to add one more vertical line parallel to one that we already have and the same on the top phase, try to make it as accurate as you can. Zoom in and zoom your canvas to check out if you are making everything in the right direction. Let's add one more horizontal line according to our perspective. Now fix the lines a little to make everything needs are when we have our future cuts out, we need to start treating them not like they're just the part of the button. We need to start thinking of them as they are in 3D. So let's check out the little scheme. This is our surface. With the cut outs, we're going to have the light striking the surface and the light also heats the cutouts. So these edges that I'm Watson to the light going to be the highlights. And these phases that are in the shadow are going to make the shadows. You need to keep in mind this scheme while making the cutouts or any other intruding details. Now let's move on, zig the round brush, and let's see how our light hits a surface. Let's start from the top face and begin to add the highlighted part of the cutouts being the same color as we have on the beveled edge. And let's start aid in the lines to our cutouts. Don't forget that we need to load the transparent pixels to make everything needs. And now just end this repetitive lines to our top face. As we kept in mind, our highlight part, we need to also think about the part that will be in the shadow. So we need to decrease the brightness and ended darker age on the opposite side on the cards out. Also, we need to start thinking about the new planes in general and about their placements, how much they turned away from us, or how much veteran toward us, the face of that utterance to us are going to have the widest spread and thereby the H is going to be wider. You can see it here. This plane is turned to us and it has a wider edge. Now let's move on and end the depth to the cutouts on the other faces. Let's start from the left plane. This phase is in the shadow and the light here will work differently. Everything here will be reversed. So we need to repeat the ages oppositely. The shallow part will be on the left and the highlight on the rights legis being the same color that we have on this face is beveled edge. And let's add the lines Fink and about the spread, the shadow edge is going to be a bit more visible and a bit thicker than this white line. We can also pick this brighter color that we used for the highlights and darken the white lines on the cutouts. When we had the vertical edges done, we need to start adding this same beveled edges for the horizontal line. Let's take a look at how it will work here, we need to always keep in mind the lights. So this phase is turned more to the light and the shame that creates our cuts out looks like that. The light will strike to the bottom part. So the brighter plane is going to be underneath the cut out line and the shadow plane will be above this line. So let's log the transparent pixels, sake the brush, and being the same color as we have on the top beveled edge. Now, end the line thinking about the spread. The brighter line here will be a bit wider than the shadow line. Now, big the darker color from the beveled edge and add the other part of the cutouts. S4, this phase which is in the shadow, everything here will be reversed. So the dark part will be on the boards and beneath this line and the lighter line will be on top. So we're just reversing our lines. Now let's fix some Over painted details, figures a corner. And also we need to think about the conjunction here with x2 lines intersects. For the conjunctions, we can make some kind of diagonal beveled edges. When we're done with this part, we need to think about the shape because our cutouts affect the shape, will take the appalling and unless at x2 and we'll just make the cut outs if you want to select more than one piece at one time, hold down the Shift key or activate the second icon here on the top toolbar. Don't forget about the perspective when you're working with the shape. When you selected all the needed parts, hint delete key, and after that, deselect every fan. If the polygon elicit xu wasn't enough, you can use the eraser tool to clean up some places when you're working with arrays at. So don't forget that you need to unload the transparent pixels. If you need to fix something else, you're welcome to do it now, the last thing that we will do here is aiding the illuminating line going through the cut outs. So pick the color you want. For example, these bright green. Now lamda transparent pixels and decrease the size of the brush if you need it. And just add some illumination to our shape. And that's it. And this is our plastic material. In the next part, we'll be talking about the foods. 4. Wood: So let's move on to draw in the votes. While drawing the plastic material, we use just a red for reflection. Here we need to pay more attention to the color and that's extras. But first, we'll make a new layer and start selecting the faces of our cube in order to add the tones for the shape. So we'll go to the layer with the cube lines, select all three phases of the cube, go to select, modify, expand, and expand the selection by one pixel. When we have our selection, we can get back to the layer where we are going to be aided, our tones now big the color from the color palette and fill the selected area. Now we can deselect everything. And the next thing that we need to do is to get rid of the cube lines. We can either hide the layer with acute lines or unlock it and reduce the capacity of this layer to 0%. When we have the base, let's start diving into rendering. Starting from the top face, go to the layer with the cube lines and make sure that sample all lays is unchecked. Now take the magic wand tool, select the top area, go to select, modify, expand, and expand the selection by one pixel, then get back to the layer with the tone. And let's start adding the texture. Say that triangle brush decrease its size and ping the darker color. So what we need to think about when we're making the votes, this cube is made from the tree, and more likely it's made from the lock. And any tree and analog will have this kind of texture inside. It has some growth rings, some voodoo layers, darker parts and lighter parts. And all of these elements are making that's extra. And when we're talking about this cube, we are talking about the object which was made from a piece of tree. So we need to keep in mind that texture. And we need to keep in mind how the structure would behave in the cross-section. Now let's get back to our cube and go to the layer with its zones. We also need to know that if before in linear and zonal drawing, we had to follow the strict rules while building the shapes. And once the about of the line could have been pretty fatal. Now we can relax and consider the whole process, the whole work that we are going to be creating as a painting. So here we have more freedom. That means that you don't really need to follow the pattern that I'm gonna be creates an, you can peek at some references. You can invent its extra, just try to make error Finland believe about. Let's finally move on to draw and you're already big the darker color. So let's start agent that texture in Greece a brush size. And the one rule here is to start with the larger elements. We need to make some kind of underpinned neither then starting to work from medium elements and especially from the details. So thinking be the shapes and try to make some interesting texture. And you can start working on the details. When you are done with the maze of shapes, start making the fixed things, make the texture more eye-catching and clean some things up. You can start taking the darker color and add some details, make some notes, and just work on the texture in general, ends if you are struggling, you can always rely on some references. You can also get sick the brighter colors. But remember that here we are working just with the saturation and brightness sliders. So at some brighter elements for that extra. And as always, the more time you spend on your drawing, the better it will look. When you think that your top face looks pretty decent. We can move on to the next phase. So deselect the top phase and go to the Q plans layout. Now take the magic wand, select the left face, go to select, modify, expand, and expand the selection by one pixel, gets back to the layer width, it's zones. And we need to continue making the texture by paying attention to the direction on the votes, we need to make some conjunctions with its own phase. Thereby the phases are connected and not looking weird and random. Sake the brush increase its size. Here we can see the darker color and just start adding some extra equity to our perspective starts from the larger shapes, neither then from the details and connect the fibers using some pretty lines. You may add some notes and you may use a different colored zones for the details. Just try to make a loom believe about when you think you're done with it. This unlike the face with the control D and go to the appliance layer, seek the magic wand, select the last phase, expand the selection and rebind the fibers button on the last phase, start from some larger parts and connects your top phase with a vertical plane. You can use a darker colors to create some extra and add some notes. Zoom and unzoom your canvas to check out if everything looks fine. Sometimes looking from the distance allows you to see that you need to fix something. When you are done with this part, let's deselect everything and pay more attention to the details. We need to fix some places connect the pattern and so on. Swarm between locked and unlocked transparent pixels for convenience. And when you're done, let's do the following. We started to work just with one solid color as a base. And now we have notes on all variations between the planes, so we have no contrast. And l cube ain't looking 3D. So how can we divide our faces from one another if we already have some pattern, let's select the left lane, expand the selection. And let's say it would be the darkest face on the cube if he wants to dark in this phase by taking the basic soft round brush, by picking some darker gala, and by starting some beets over this phase, we won't be allowed to do this because we will lose its extra. So how can we solve this problem? We can resolve it by using the blending modes on the upper toolbar, you can find this drop-down menu near the word modes. The mode we are using right now is called normal. It is set by default and we're going to use it almost always. But for agents, some fixes, or for achieving some special effects, we are going to use different color modes. If you open the dropdown menu, you'll see that there's a lot of variations on the blending modes. And for now to resolve our problem with dividing the phases by tones, we will use a color mode called overlaid. This color mode will help us to dark in the dark elements and lighten the light ones. So let's see it on the example decrees of brightness. And by using the soft round brush and go through the plane and paint over the texture will dark in their face and add volume to the cube. We need to paint over very softly. Don't pressure too much on your pen and try not to overdo it. And here you can see that we already have the difference. We also need to keep in mind that would be very reflective. It's more mad and we don't need to make some glossy effect on this texture when you think you are done and had the zone that will be appropriate to our shadow part, we can move on and define the rest of the phases as well. Now deselect era, go to execute line Slayer, select the next phase, expend a selection, and again with a soft round brush, start painting. Over here we can increase the brightness abates. Remember about the colored zones and the dependence of the lights. The light-year goes mostly from the top and this space is going to be a bean darker than outs of phase. And also it will be a bit darker on the bottom part rather than only adsorb part. Plus keep in mind that we need to have the difference between these two vertical faces. If you already did things, you can increase the brightness and by using the brush, divide the faces. Also, if you haven't troubles with the selection box. Distracts you. You can heat the control HGS and your selection box will be hidden, will still be working only with a selected area. But you want to have these doted lines. When you think you are done with the right phase, you can deselect everything and move on to the last phase, gets back to the Cube lines layer, select the phase, expand the selection, get back to the soft brush and maybe make adsorb phase a bean brighter at some gradient for its beg part. Deselect everything and let you God, if it looks fine or if we need to darken some elements a bit more, if you need to fix or adjust something, you are welcome to do it now. The last thing that we can do here is to work on the highlights and to work on the whole shape in general, unloaded transparent pixels. Take the arrays at x2 and work a bit on the Szilard by cutting the corners. And the very last thing is to end the highlights between the phases to make them look better. So let's take the round brush, load the transparent pixels sake the brighter color, and get back to normal bending modes. Now end the beveled edge to the right face. Big a bean dark zone, and add the beveled edge on the left side. We also need to add the vertical lines. So let's pick some darker color. If you tried to add the line right away, we 1D painting over this white line because we have the transparent pixels locked. So let's unload the transparent pixels and let's add one more beveled edge for these parts. Now things are intersection of three beveled edges, and that's it. Here's our first Boudin cube. We can also make one more variation on this queue by starting age in it. So let's make the coating on the skew by holding down the control out keys and dragging the shape to the rights. Here we're going to be adding some dried up elements, some Greg, some chips to make it look older than it is on the left. Now take the triangle or any pressure brush. Big the darker color, not blink, but darker, logged a transparent pixels. And let's start A1. The agent elements such as cracks, we will go through the fibers with the jagged lines. They're not going to be the same size everywhere. And the pressure 1B similar either. If you overdo it some places, you can use a brush to fix them. If you have this blank spaces, you already know what to do. You need to unload the transparent pixels and just paint over them. So continue agents some G20 such as correct, our shape, go for the fibers and again, try not to overdo it. We just need some texture that will look good and believable. So use a different pressure, uses a different size of the brush, all the zoom in. Zoom you again was to look at your work from a distance. When you're done with the Greg's women to end the highlights equivalent to our lives to make them look more realistic. On the Allied side, the highlights will be on the left part of the cracks. Don't use a straight lines user jagged Vera variable lines on here to make the texture look more realistic. And when you're done with edX in the highlights, we need to work a bit on the shape. All these details that were added are affecting the silhouette and we need to depict it. Let's take the public and unless at x2 and let's make some cutouts. Tried to make the cutouts in accordance with the perspective. Don't try to destroy the cube there much. Just tried to cut out some details. When you selected all the areas, just him, the delete key on your keyboards, deselect everything. And let's see what we have. If you want to fix something or if you've been the public in a lesser CSU wasn't enough, we can continue working on the shape with an areas at PSU. But if you want to work with the arrays at X2 units to unlock the transparent pixels. Now let's fix all the nice clicked things and maybe work a bit more on the cutouts. And the last thing that we can do here is to fix as beveled edges that we added for the cube will destroy them. A lethal to make the cube look old beak, some bright college here and just work on the edges by destroying them and making them not that strict. You can also add the highlights for some places as always, try not to overdo it. Work on another edge as well. Now let's move on to the vertical bells edge B-C, some brighter color. And again main, this H naught that strict. We also might need to divide it from the nearby faces by aiding the darker color on the edges. You can also add some highlights. Use the overlay mode if you think that you need to darken the phases to add more volume and to divide the phases from one another. And as always, the more you're working on your drawing, the better it will look in the ends. And here's our first pretty complex sex should done. In the next part, we'll be creating the stone. 5. Stone: So let's move on to making the stone. And as before, we have the cube and color palette which we are going to be using for creating the drawing. You can always use your own color palettes. And if you do, try to use not very saturated colors, let's start by creating the new layer. Will we are going to be adding That's Ohms, the magic one x2, and start to select the faces one by one and add that zones. We need to go to the layer with acute lines, select one phase and go to select, modify, expand, and expand the selection by one peak. So get back to the layer where we are going to be aiding the tones, pink the color, and fill the selected area repeated on the other two sides. Select, expand the selection, get back to the layer with its Ohm's being the next color and fill the area with color. And once again, for the last phase. When we have all free zones on the cube, we can either hide the layer with the cube lines or we can unlock this layer, decreases capacity to 0% and loudness layer once again, when we have the tonal base on the cube, we need to start adding the texture of the stone. So again, back to the layer with its Ohm's. Take a look at your top toolbar and send the tolerance to 0. It will lead us to select the planes here on this layer. Well, we have just the solid colors. Now let's move on and start from the shadow face, saying the triangle brush and same as before, we need to start from the larger ships to map out the texture. Eventually, we'll move on to aid in the smaller details. This same colored zone as we have on this face and make it a bit brighter. We're using just the saturation and brightness sliders start aid in the direction of the texture by using the brush, we need to make some kind of multi-layered effects. Don't make too many details at this stage. Here, we just need to add the underpinned on the texture spotter. Don't go too bright because it's the shadow part. Makes sure that you are making something multi-layered. If you need to fix something, you can pick the same color that we originally had on this side and paint over the places you want to fix. And the main task here is to make the interests in pattern. You can take the public analysts at x2 to select some parts and to work on them separately. But firstly, deselect the existing selection, logged the transparent pixels and maybe start to add some brightness or on the opposite darken some parts. You can start working with the gradients. Take the basic soft drawn brushed, increase the brightness a bit and with a soft touches just eliminate or dark in some places. Maybe you want to blur things, maybe not. Everything is up to you and there's a lot of freedom. Just try to use a different pressure on the brush to achieve a nicer effects. You can always get back to the layer with acute lines, expand the selection, and continue working with the whole phase. Let's add some final touches here. And when you have some decent result, let's deselect everything ends, move on to the other faces. So select the next phase, take the triangle brush and let's add the directions on the pattern. And the same as we did with the wood, we need to connect the pattern pieces from different planes with one another so the whole texture won't look random. Work on this face the same way as we did on the previous one. And try not to overdue things. When you're done, select the last phase, take the brush and continue adding the texture and somehow connecting it with the previous planes. When we have the base of outside, we can move on to aid in the small details such as Greg's chiefs and so on. Let's take the different brush, some pressure one. Or if you prefer to work with a triangle one, you can continue using it. The darker color. And let's start aid in more details to the text chat. Use different pressure to create the cracks and use jagged lines to avoid stiffness. Also use the different directions. At this stage, you might need to use or invents a bit of logic to get how the scripts were made, you can go through the fibers, will just use a sensation of how they could possibly work. Some with they're going to be darker sum, we're going to split n tonight, thereby making the nice spot-on ever. Phi1 is pretty the same as we did with the woods. As always, tried to make some interesting pattern and at the same time tried not to overdue things. When you're done with this part, we can also start thinking about some places which we can push inside the surface in order to exaggerate the crags effects. So we can select some places that are framed with correct or have darker zones and push them into the shape USA polygonal lists at x2 to select the areas we're making that to show that our QC has known just a solid shape. It has concave and convex parts. When we made our selection, we can take the soft round brush and just make these places IB darker using the gradients. Now we can start working on the correct small precisely. We are going to be A1, the highlights and the shadow parts. Let check out the example of how the light will work on the cracks. So in goes here on the top like that. Then we'll have the beveled edge, then it goes down. And here we have the crack. The light strikes the bottom part, thereby making highlights. And the upper part is going to be in the shadow. For this shadow side, it works in the opposite way. We'll have the shadow on the bottom and the reflected light only it's OK. So pay attention to these things and let's get back to the cube. We'll start by creating the beveled edges. So peak the brighter color. Use a jagged lines or create some rough belts edge. You can unload the transparent pixels for convenience and tried to make the H9, that's rates. And the same for the other side. We can also add some comments here and there, and start fixing the S for the vertical bailed. And select the intersection with the j, get lines. When selection is done, take the brush and add the color. We can even make it a bean brighter. When we still have the selection, let's darken the area on the other sides. We can do it by clicking with the right mouse button and choose, select inverse in a drop-down menu, big the color from the dark side and make it a bit darker. Get the brush and darken the area a bit to divide the faces. Logged a transparent pixels. If they are unlocked, deselect everything, and add a few highlights on the new belts edge. Now we can start working on decrypts by A1, the highlights and the shadows. Pay attention to the Live. Aid in the brighter areas for the Crick's. Try not to make them just with straight lines without changing the pressure in the size. Go through all the highlights on the light bars of the cube. And when you start adding the shadows, when you're done with the light sides, let's move on to the shadow sides. As been said before, the brighter part here will be inverted and going to be on the upper part and the dark lines will go on the top. So continue working on the correct on these sides at both highlights and shadow parts. Don't forget that the brighter parts on the side are made over there afflicted live. So they can be super brides. Well, you can make some bars just a bit brighter to achieve some nice exaggerated effect by try not to overdo it. On the top phase, we can leave everything as it is, or maybe just a few tiny details. When we have our main parts done, we can start working on the smaller details at some tiny cracks, but don't add too many of them. Render them by adding the darker color for the shadows and few brighter details. As always, the more you work on your texture, the better it will look. If you need to fix some places, you're welcome to do it now. And let's move on to work in the shape. We can erase some parts the same way as we use the polygon tool to create some sheep imperfections such as cut outs. When you selected all the bars you need heated the lead key. You may need to fix some things we the areas at x2. So unloaded transparent pixels, arrays at x2 and do what you need to. Keep in mind that perspective and keep working on the shape. When we can use a special ethics brushes to even once extra to your shape. And the main rule here is not so. In the project and restless tab, you can find the link to the Dave greca brushes that we're going to use here. So you can download them and upload them to your Adobe Photoshop. You already have some brushes that have some similar visual effects that school use them. If you don't want to use some special effects brushes, that's cool as well. So anyway, for this part, we're gonna be using just a few brushes to exaggerate this tone texture. The first branch that we're going to use here is called Sarah. So let's first do the following. We'll create a new layer and we can make it as a clipping mask, or we can hold down the Control key and click on the icon above the layer with a cube texture to select our objects. When you did any of these things, take the terror brush and just with one or a very few touches, add the texture. We don't want to overdo everything, so try to be accurate. We can also use a blend and most of the layer here, such as overlay and weekend play with a capacity, then you brush stroke shouldn't be very visible and eye-catching. They should fit harmoniously into the texture. You can also use one more branch with a different effect. It's called scrape. These one is good too, so you can try it out. If the direction of this brush doesn't fit your drawing, you can rotate it into the brush panel. Just hold down the arrow on the circle icon and move it the way you need one more brushed to use is dust or speckle. They're pretty similar. Let's create one Malaya and add the lights adults by using these brush, same as before, few touches to feed harmoniously. You can play with this brushes, but try not to overdo everything. When you are done, deselect everything and merge together all the additional layers we create its select all three layers. Click with the right mouse button and choose merge layers. And here's our stone, but let's play a bit more with its x chap. Let's create a copy of this cube by holding down the control out keys and by moving it to the sides. Here we're going to add some lab, make one Malaya, take the wrong pressure brush and pick some orange color. Select the cube or make a clipping mask. And now let's add some level to our object. You can edit through the cracks or feel some larger places. Try to find some places according to the logic. And as always tried not so overdo it. User error is it suits to fix the shape. When you have the base elements, we can use it overlaid lanes, add the grades and load the transparent pixels big the red color and paint over the edges. Then beak and edit to the middle old dilemma elements. When you ads on this, select everything and merge these two lists together. Now working a little on the whole silhouette by using the arrays at x2 places. You're welcome to do it now. And the very last thing that we can do here is to add a bit of illumination by using the overlay blending mode in the soft round brush, we need just a few searches going through the lava parts, they won't be very bright and eye-catching. And here is our second stone. And the next part of the class will be dedicated to the metal material. 6. Metal: So let's move on to draw in the matzo and we'll start by creating the new layer. As always, we have the cube lines and the color pallets. Let's start selecting our faces and a1 dead zones for the sides, zig the magic 1so, Select the first face, go to select, modify, expand, and expand the solution by one big cell. Get back to the layer where we are going to be A1, that zones being the color and fill the selected area. And let's do the same for the two other faces. Select, expand, pick the color, and fill the selected areas when the basis done, let's go and hide the layer with the cube lines, or we can unlock it, decreases to 0% and lock it. Once again, metal is pretty glossy material. And to achieve this effect, we're going to be adding the very bright gradients to this sides. Sake, the basic soft round brush increase its size and select the left face big some brighter color. And from the bottom left corner, start aiding the gradient is going to be bright but not super very bright. So something like that will be predefined. When you're done with this, let's deselect it, select the second phase and get back to the brush now and the gradient effect for our second phase here, you can work with a darker color and edit to the right part of the face and worked with a brighter color as well. We're defining the faces and making the difference between them. When you're done, let's move on and work on the last soap face, big the Drucker Kala. And from the further corner will create the color transition. Diluted with a brighter God to create the believable metal affects. It's already looks like some kind of metal material, but we need to keep rendering to exaggerate this affects, let's start by aiding the highlights on this vertical faces. Sake the round brush and decrease its size, beak the bride's at zone and add the beveled edges for these two faces. Now peak a darker color to mean the vertical beveled edge. And to achieve the smooth transition between these two planes, figs are intersectional corner and let's add a few highlights on the beveled edges. You may take another brush, peak white colour, and go through the edges. When the highlights are done, let's work on the shape, zig the areas at Sewell and cut the corners equation to the beveled edges. After that, we need to add the last detail here. As metal is very glossy material, we need to add the pretty precise reflected light on the bottom parts of the cube. Lets take the polygonal lists at school and make the selection according to our perspective, you can start making it a little beneath the central line or a little above it, depending on how glossy your material is. When you have the selection, although the transparent pixels take the basic soft round brush and increase its size, peak some brighter zone, and just make the semitransparent reflection. Remember that these two phases have different zones. So you still need to think about their separation when you are done with aid in their reflection, deselect every fan. If you're not very happy with the results, you can get back to selection and add more light or dark in sub-parts to achieve the believable effects. And that is our metal material. For more rendering, we can make a copy of this cube by holding down Control out and by dragging it to the right sides. If you want to make a copy on one line, you can also hold down the Shift key. Here we're going to add some Greg's and scratches, shows a usage tracks and so on. Let's take the round brush, decrease its size, and let's start making the scratches on the right side and the light lines using the different directions try not to make them very parallel, make them look nature. I'll use the pressure using different size of the brush and add the highlights inside the lines. Fix some details if you over deed or miss clicked somewhere. Now equation two, the light, let's add the shadow parts to the scratches. Here is a little scheme as a reminder on this side, and the highlight will be on the bottom and the shadow is going to be on top, say the darker color and start aging the Shadows. Use a different size of the brush, different pressure, some remake them more visible, some real less visible. Keep working on the scratches and end the highlights here and their work on the details. And keep in mind that you can quickly books is by using the X on your keyboards. Made the lines not dead straight. When this part is done, when you move one to the second phase, here, we will add some scratches as well. Start by using the bride's or use a different size of the brush and different directions. When the brighter part is done, let's move on to the shadow parts. Here everything will work in the opposite way. The shadow will be on the bottom and the reflected light will go on soap. So equation to this knowledge, let's add the darker lines for the shadow parts. Play with a thickness nth Venus off your lines. Work on the details in general and work on the shadows and highlights at the same time by swapping the color boxes. If you overdid some places, you are welcome to fix them. Now, when we're done with these two phases, we can move one ends at the larger end, Deepa chips to the beveled edges. You can connect them with your scratches or work on them separately. Your task here is to balance out error van. Now end the highlights. We can also add some scratches, do that soap face and add more chiefs to the right face. Keep working on the details and the shadow parts to the scratches and highlights to the cheaper. When you're done with this part, let's start agent even smallest scratches and work on them too by eight in some depth. So if in some super dark or super light bars, if you have them in the decreasing branch, says scratches here and there. And this is a second mantle ends. In the next part, we're going to be working on degrees though materiel. 7. Crystal: Now let's move on to draw in the crystal. As always, on your screen you can see the cube lines and the color palette that we're gonna use. We'll start by creating the new layer. Will we are going to be aging that zones. Now say the magic wants to go to the layer with the cube lines and select the first face, expand this election by one peak so big the Kala and feel the selected area and repeat the same steps for the remaining faces. Now we need to either hide the layer with a cube lines or we need to unlock it, decreases capacity to 0% and lock it once again. And here we'll start working on our cube. The greatest difficulty on drawing the crystal materials is that there is not a lot of logic. We need to pay more attention into the creating the illusion of the material. We need to show that this material has a lot of texture, both visual and physical. It may have some glossy parts, it may have some met parts when it's a balance and out together. Plus this material is pretty reflective, so we need to pay attention to these characteristic as well. And it has been said before, there are not a lot of rules to follow. You can always peek at some references or you can try to repeat the steps that you see on your screen. As always, we'll start from the larger elements and enzyme will go to the smallest details. Let's start by creating some chaotic pattern that will help us to show that sex chat sake the triangle brush, and go to the layer with its Ohm's Law, the transparent pixels take the magic wand tool and select the left sides, get back to the brush and weigh the lighter color. Let's start. Aid in the pattern. We need to achieve some multi-layered effect, as we had in the Stone. Think about the refraction and create some random reflections. The more attention we pay to all these things, the better our texture will look started in the pattern and go in from the corner and pay attention to the pressure of the brush. If you need to fix something big, that original zone and paid over the places you need to fix. Now deselect everything, zig the polygon, unless a tool and start selecting some pieces to add the gradients, we can both dark in all light and some places. Keep in mind that for now, we're just working with a saturation and brightness sliders. If you're feeling confident to start adding the different colored zones, you are welcome to do it. Try not to make very precise edges and smoothing the transitional places. Now let's move than the bottom parts of the texture with a darker so on, in order to decrease their brightness and make a nice transition. At some smaller details, fix some elements and add more fraction parts in shirt. Just work a bit more on rendering this part. When you are happy with the result on the site, we can move on to the rest of the phases, sake the polygonal lesser tool, select the right phase and play strap aid in the pattern, big the brighter color, say the triangle brush, and start adding the texture to this phase. And here we need to connect the pattern worked more on the texture, make it more layered. And if you want to fix some places being the original color and fix what you need. If you want to smoother the brightness, you can add some gradients. When you're done with this phase, let's move on to the last one, select the top face and through the same steps here, saying that the brides and connect that bads or start A1 the gradients and maybe make some parts a bead brides app. We need to pay more attention to the nearest to ask Warner, This is the most attention catching parts. When we're done with the base, we can dive into rendering. We can start selecting some certain parts and start adding the gradients with a soft brush. Use the overlay blend in mod or work with a darker colors. If you're working with overlay mode, remember that we need to work with a brightness and saturation. Sliders set the saturation to 0, decrease a brightness for the darker elements, and increase it for the lighter parts. When you're using the overlay mode, try not to overdo everything. Also, it's always good to zoom and unzoom the canvas to check out the things from a distance. If the selection box is bothering you, you can always hit Control H to work on selected areas without distraction, continue working on the gradients. If you need to fix some places, for example, mains, the age is not that straight. Get back to normal blending mode, take the triangle brush and just fix what you need to. Start working on the details and make some parts more transparent by playing with the colors and by A1 some very light parts. Everything here is very nuanced and we need to add the exons to achieve the crystal effects. Continue working on the whole shaped by adding some details M that texture, get back to the overlay, blend in mode and brighten that top corner. Darkening the further corner and darken the parts on the left face, make everything a bit more contrast. Also, we can end the idea of some transparency here on the back sides with the overlay blend modes on increase a brush size and just softly drove and vertical line, thereby forming the illusion of the side plane. After that, let's continue working on the texture, makes some additional brighter elements, but try not to overdo ever fan. We can also enlighten the top phase by a11 sold brushstroke, continue to add some brighter pieces and continue to create the illusion of transparency. Now we can get back to the normal blending mode and starts fixed in some parts that we may be over or that turned out not so great. You can start adding the sub planes that will make the whole material look better as we are working with the crystal material, we don't have a lot of rules to follow. We need to divide the planes and end the illuminating f x by using the overlay mode and solved brush. Get back to the triangle brush and get back to the normal blending mode. And let's start aid in the smaller details. We can start by A1, the beveled edge, and some destruction corrects for the write phase, unload the transparent pixels, big some Brides, a collar and start A1, the jagged beveled edge. Add a few highlights with even brighter color. Start going down. And to work on the vertical edge, we don't need it to be straight. We need to destroy it a bead. Use your imagination of how to make this h nice. It may be one very squiggly line or it may split somewhere at some highlights for this edge as well. And let's move on to the left parts. Big AB, darker color, and end the beveled edge. If you need to fix some things, you're welcome to do it now. All the zoom and unzoom your canvas to check out if everything looks fine. When you are done with the beveled edges, you can start working on more details. Start adding some cracks, as we did on the stone, tried to add them, relying on a bit of logic. Add some highlights for the cracks. If you want, you can try to add the shadow parts to the Greg's as we did with this zone. Now let's get back to this old brush and overly blending Modes. Below the transparent pixels. And let's work more on the details. You can make the small separated parts more contrast. You can dark in the bottom right side on the left face to divide the planes on the opposite, use a brighter color on the right face, work on the whole shape in general. And when the have some decent result, we need to work on the sea lands. So unloaded transparent arrays at x2. And let's work on the corners. And let's make lethal God's outs. We'll fix them within their race and civil and work on this siloed in January. Get back to the normal blending modes. If you needed. Play with the overlay blending mode and make everything a bit more contrast. And in the end, you will have some n like that. Now we can move this cube to this side and make the copy on the other side by using control out keys. Here we can go a little bananas and destroy the cube even more. So unlock the transparent pixels. And let's have some fun with an array is a tool. We can make some cut outs, but don't forget about the perspective. Work more on this silhouette and maybe make some larger got Dow's going along this shape region, some parts, you can do whatever you want here. Just use a, B, the logit and create some interesting shape. We can enlighten some parts along the sides, loved the transparent big cells and live by using the overlay blend modes. We can also add some speckles. Let's find this brush and the same one we used for the stone, gets back to the normal blending mode and create one more layer. Select the silhouette of the queue by clicking on the layer icon with the Control key. And now at a few details to the lights apart, we need to add just a few details because we don't need it to be super visible. You can try to play with the blending modes on the layer. For example, something like Vivid Light will be fine. And let's continue with the brightness. You can use it overly blend modes again and maybe add some more brightness to the top phase. And we can add more to this surveys. As always, the more you work on your material, the beds at either will look. You can use it by ligand the lives at x2 to select some parts and work on them separately. If you want, you can add some great dance. If you still think it's not enough, you can destroy your cube even more. It might take into polygonal less than x2 and gotten the larger pieces on the cube. Themes as well. All these keep in mind their perspective. Work on the shape as lone n as much as you want, but try to keep it somehow cube alike. We can even keep older fragment, for example, this owner and near the mean. Let's create the new. Tried to repeat the shape will start from the zone. Zone. And working bead on rendering. You can use it to add the brightness and to darken some parts. Don't forget to log the transparent big cells. Divide the phases. Good luck to the normal blending mode. And if you needed. Now you can add some highlights. Maybe add some smaller pieces such as grams, and render them as well. If you need some move or at saved and UP's, You can do it by using them move to ends. In the end, we will have something like that. So the crystal was the last material that were reviewed here. You always can draw any other materials of your choice. You can try to use NANDA cubes as the base by different simple shapes. Everything is up to you. The next parts of the class will be dedicated to the final work where we are going to combine a few materials and create a little illustration. 8. Final work: Sketch: Let's move on to the final drawing. And in this part, we're going to become binding the materials that we already studied here on your screen, you can see the little scheme that will help us to create the composition. The upper rhombus part is gonna be decreased. So the ellipse is a stone in the cube, is you can use the same materials and shapes, or you can try to use any other materials you want. Just tried to apply the knowledge and make the final work look nice. So let's start by making the rough sketch that we are going to be using to create the whole draw in. We'll start by creating the new Les and by picking some bright color zinc, some pressure brush and ledger start from the crease. Tau Crystal is going to have this rhombus shape, but we need to start making some faces to create the illusion of the materiel. Start aiding the phases and divide the whole shape to pieces, separate the shape in any way you want. Just tried to give it a form of decreased out. You can add some parts going beyond the scheme lines tried to make some interests in planes. You can always take a look at some references where you can try to repeat what you see on your screen. For now. It is just a rough sketch and we're going to be fixing it. Now your task is to make the nice divided bards, as Dr. Jack is, the edge is shouldn't be previous trig because the material is pretty firm. When we have the rough sketch of the crystal, we can move on and start sketching the next material, which is going to be the stone. You can see it on the same layer, but for convenience, you can create one Malaya and use a different color for the lines. Our crystal is going to be covered with stones. So let just try to depict it. Let's start somewhere in the middle and draw the first stone. You can make any fancy shapes you like, and they need to be in 3D. So we need to start thinking about that zip while creating the shapes and continue covering the crystal way this Zones and maybe make some ledges. Don't be afraid to make the ugly lines because here we are working on the shape and not on the preaching is owned the lines. When you have some holes, some fancy shape, you can hide the scheme Lee and work more on the details. Maybe we'll change something, maybe make it more accurate, maybe adjust some things in accordance with the perspective. Fix some details, and make a fancier shape. Keep in mind that this is just the draft, something like guidelines that we are going to be following. We can always fix something and change the angle. So just create the nice cage that we can use for our purposes. We can also add some lethal rocks and some crushing parts on the board, some wooden stamp. They don't really need to be very accurate and just make them look nice, USA different shapes and pay more attention to the things that are closer to the viewer. As for this, we can use this same cube would as we have on this scheme. So there is no need to Maine this gauge here. And this is going to be using for creating the whole final work. 9. Final work: Base colors: Now when we have this sketch, we can merge these two lists together. So let's select them, click on them with the right mouse button and choose merge layers will also name it as a sketch and decrease opacity. When we have this gauge, we can move on to add in the zones to our elements in the list panel, you can find the color palette which we're gonna be using for this drawing. You can use it or you can try to find the cows by yourself. So let just start from the voids will create a new layer between the layer with a scheme and the sketch. Let's name it as food. In the upcoming parts of the class, we're going to be working with a different layers for each material now saying the magic one, so go to the scheme layer and start selecting the phases we're going to be doing in the same way as we did when we were exploring them. Materials start from the left side, select expand beings account, go to the layer with the woods and feel the area continue with the next phase entropy. In this same steps, we can feel these two planes with one color. But for convenience, we can try to darken this area on the left by using the control UK 0s and biplane with saturation and brightness. So let's just say it would be minus 15 on the lightness and plus 15 on the saturation. For now, that would be enough to divide the planes. Now get back to the last phase on the top, you can use the polygonal lesser tool to select it right away. Fill the area with the beat lighter color. Now we can get rid of this scheme lines and start working on the other materials. Create one Malaya for decreased style, insulate the whole shape by using the polygonal less so. And feel the selected area with starch in just with a base Scala. And a bit later we'll continue to divide it in. Zippy says, when we're done with it, we can do the same for the Stones, create one lonely and name it as a stone and start selecting the stones with a polygonal lists of x2. When we selected error if in even the little rocks on the root surface, let's be and feel the selected areas. Now when we have the base colors, we can increase the capacity oldest cache lines for a beds of visibility. Then we'll hide the layer with this gauge and fix a blank spaces we have on the base colors, use the polygonal listed. So to add the missing pieces or check out the list positions and see what would be easier. For example, these Crystal Lee is underneath the layer with the stones. So we can just be exit crystal cower and fill the blank spaces with a brush. And when we have the base, we can move on and start rendering our materials one-by-one. 10. Final work: Rendering crystal: Now when we have our basic colors, we can start rendering our shapes. Let's start from the crystal, loathed the transparent pixels and logged a layer with a sketch, go to the layer with the crystal base and take the polygonal less at X2 star, selecting the faces and start to add the different shadow color to the selected areas. Let's select the darker color from the color palettes and fill the first selection with a solid color. We can select more than one phase and work not only with a solid colors but gradients. Let's try it with a second selected peace sake, the basic soft round brush. And we can start creating the gradient as we have a very bright and very reflective material, it will be better to use the gradients to show the texture and the nature of the material. The darker colors wouldn't be near the edges. So play bit with selecting the faces and aiding the gradients. You can always hide and unhide the sketch lines to make sure that you are doing everything right. Now let's continue and select the next plane and the gradient going from the top and maybe we'll separate it from the nearby areas. Continue with other planes, you might need to feel some areas with solid color to show that this plane is in the shadow. But everything here is up to you. Everything depends on how you set the lights. It depends on the shape you've made. You just need to make an illusion of the material. When you are done with the shadow parts, we can move on to aid in the highlights, select the areas. And as we have that super reflective material, we will need to pick almost white color for the highlights. So let's edit to the selection by using the gradients. If you overdid some things, you can always take the original color or the color of the shadow and Jim the brightness for a little by making the darker gradients. When we have the basic elements, we can start working on the details. You should have noticed that we started from the larger elements, then we split them to the smaller pieces, and now we are slowly moving on to the details. Let's take the triangle brush and start adding the details. There is not a lot of rules to follow. Again, it will be more up to you based on the shape you've made and on how you split it. If there could be a lot of variations of one picture, use the knowledge from the exploration part of this class to create your materials. It is a very creative work and you have a lot of freedom to complete it. Now let's continue working on the highlights. You may elongate some lines and make them more jackets work on the edges of the planes. The crystal has a lot of straight lines, but we still need to somehow merge the elements and make them not that firm. If you need something, you can always pick the nearby cows to fix what you need. You can add some texture by making the strokes with a triangle brush. Leave the strokes if it looks nice, but if it didn't work out, you can use the basics of brush and fixes places by blending them. Continue edge in the details, add some beveled edges. They can be a bit brighter. You can zoom in a page in way by using the jagged lines. Or you can hold down the Shift key and make the straight lines has been said before, a lot of freedom here. We can also start agents, some shadow parts. For example, here near the stones, you can use your own collars by Blaine with saturation and brightness. Or you can use a column that we already have balance. We can even try to add some additional planes to make a bit more interesting shape. All the zoom and unzoom your Canvas to look at your picture from a distance. Use the polygonal less adsorbed to select some parts and work on them closely without ruining other parts. You can always use a different color from the color palette or colors of your choice. Use a triangle brush and add a few touches on the dark sides. If the selection books is annoying or distracting, you can hit Control H keys and hide it. This area will still be selected, but you won't have the dotted lines continue to render your material. When you're ready, deselect the plane you're working on now and continue with the other faces. As we have a very reflective material, we can probably start creating the illusion of some kind of transparency. We can achieve it by leaving the areas near the edges of the plane slides in by darkening the inner parts. So let's select the plate, stepping away from the edge and darken the selected area. You can start with a triangle brush and then blends everything with a soft round brush, User Control H to hide the selection box and keep working on your faces by A1, these type of gradients. You can use it in-between zones to blend two different goals together. When we have our base shading, we can start playing with the overlay blend modes. Here we are working with a Brightness slider and aid in the lighter or darker parts to this shape by using the solve brush softly pays over some areas that need more contrast. Select some specific planes with a polygonal lists at x2 and add the great dance. Get back to the normal blending mode. If you need some peaks or blend sound play says, when you are done with this part, lets add more beveled edges and more highlights. Big the white gala and just end the beveled edges between the planes. Uses a different size and different pressure or the brush. Try to make the ages in accordance with the light source. Start destroying some ages if you wants and play with the shape in January and start adding some smaller details, maybe it's some pattern or if you smaller cracks, all these little blades will probably have different zones. Now we just can start adding some transparency by using the overlay mode. Select the upper plane on the left and the start boards and plane and the gradient here as well. We can make the inner parts of rights and even started in the very bright but blurry dots inside to add the transparency and illusion on the text chat. As always, try not so overdue every fan. We just need a little shield or idea that there is something insights. It shouldn't be super on this. And I tried to use a different sized brushes for these dolts and continue working on this selected areas at darker parts near the edges to show more contrast. Work on this smaller pieces in the same way. When you sit down with rendering this selected areas, you can click with the right mouse button and choose, Select Inverse and to work on the edges that will left with the overlay blend in modes and the bride's its own for some places. Now let's deselect everything. If we need to fix or beautifies some places, work on the shape that you don't like or the blaze is, it turned out not so good. Thank you. Are rendering at some details and maybe use a different color swapped between normal and overly blending Modes and keep working on rendering your material. Add some shiny details with a different brush size, but try not to overdo ever. Use it by League and the list of x2 to select some areas in order to end the darker values next to the ages. Work on them. One distinctive Blaine separation from brushes to edge beds or results. Blend modes. Separates on blames me the more and more grades and all these fees will make you keep in mind that balance and harmony. And also keep in mind that all these DDOS shouldn't be super flashy. Blade with a Greg's and some highlights and shadows. We can even tried to use that special effort, brush that dust or speckle one, use the overlay blending mode and add a few touches with this brush. Use the brides are owed sockets on. It's all up to you. Just check out what suits you when we're done with this part, we can do the following weekend, go to the tab Image Adjustment and play a bit with the view settings. Let's start from the vibrance and play with sliders. Play with sliders until your material looks nice. Make sure that the preview box is checked. Now we can go to the color balance subset and play with the slider there as well. Here we have three sliders with color balance and free buttons of tone balance. We can separately adjust the shadows, zones, and highlights. So let's begin with the shadows. You can adjust the cow, make them more vibrant and thereby better looking than before blade with all free of this sliders and all fried zones until you are satisfied with the results, you can check and uncheck the preview box to see the difference. For now, let's just leave it like that. And if you still want to fix or add something, you didn't continue working on this material. This isn't the final rendering of the crystal. We can always get back to this part and balances out with other materials and surroundings a bit later. So ledgers for now leave it like that and move on to rendering the stones. 11. Final work: Rendering stone: Now let's move on to rendering the other materials and we'll get back to Ed in the final touches to the crystal abit later. Also now we can add the dark background and that will help us to look at the whole drawing differently. When we have a darker background, we can see things more clearly. We can make the objects more saturated and more VBS. We have more freedom to play with the colors. You can find the dark backgrounds in the layer span out. Now let's move on to rendering. The Stones go to the layer with the basic colors along the transparent pixels and unkeyed the layer with a sketch. With a sketch layer one, we know where to put the shadows, m, the highlights. So let's take the polygonal zones for the face is on the stones from the shadow bards start selecting the areas and create the zip IV. The transparent pixels are logged. We can lead the selection go and lethal beyond the frames. When we're done with selecting the main rocks, we can start selecting the faces on the lethal rocks. When you enzyme with a selection being the darker color from the pellets and feel the areas we can start fixing agent our new faces if it's needed by hydrogen delay with this pH, if everything is fine and you don't need to fix anything, the next step will be to add the lights aparts and hide the layer with a sketch and start selecting depletes with a polygonal lists of x2. When you are done with the selection being the lighter color from the palette and feel the areas led to got what we got by hiding the layer with this gauge. Now, if you haven't added the lighter parts to that sign, Iraq's, let's select beneath that planes and feel the areas with color. And when we're done with this, let us move on to the fixing part's saying the polygonal lists at x2 and create nicer outlines. Pay attention to these shapes and fix the edges. You can use just a brush pose some hard to reach places. Bids engine to the blending mode you are using. Older fixes should be made within normal blending Modes. Pay more attention to the end of your face. Says. When we're done with this part, let's move on to more advanced rendering. As always, we're going to be starting from the larger parts and eventually we'll get to the details. So let's start by agents some underpinned visual texture and some gradients, sake the triangle brush. And if you don't want to ruin everything, and if you want to have a backup plan, you can create a new layer, click on it with the right mouse button and create the clipping mask. Now, even if the ruin all the rendering, we still will be able to get back to the original basic colors and start all over again. Now let's create some pattern on the layer with a clipping mask. Let's start from the neutral tones on the stones. Go to the layer with the stone base and use a magic one tool to select the areas, set the tolerance to 0, and let start selecting. When it's all selected, let's get back to the clipping mask lay, and let's start A1. Let's extract at Sunlight's a pieces and play with transparency and multilayers, start with the larger brush and use a different directions. Decrease the brush size when you're working with the smaller pieces of the Stones, start creating some stony patterns, use different pressures and use gradients. When you're done, when you draw parts, let's move on to the other planes. So this error, saying that polygon elicit x2 or give away the stone base and use the magic wand to select the shadow mask and start adding extra. Bazerman and continue making the visual to extract. When you are done, deselect everything. And let's move on to the last blame sake, the magic wand tool and select the lights are parts. Get back to the layer with a clipping mask and again start connecting the pattern and creating the texture. Here, you can use either a brighter tone or on the opposite, a bit darker one. Just forgot what looks better. Malware working just on the pattern without paying attention to some possible casts, shadows. What we've done and let's add some extra for the lethal stones as well. Use the same method as we use for the big stones zones. And one by one. Now we need to dive into rendering even more to add little details and gradients. When the pattern is done, you can play it with a capacity of the clipping mask lay with the saturation and brightness. You can add the brightness or darken the pattern by hitting control, you end by plane with the sliders. And when you are happy with the result, you can merge these two layers together. Now let's move on and let's start adding the gradients for our faces. Start selecting the areas that we need to add the gradients for. Maybe start dividing some bases from one another. For now, let us start from the darker bards. Dry to be accurate way this Elections and don't miss the areas. When we've selected all the dark elements, we can start adding the gradients by using the overlay blending mode and by using this soft round brush, move the Brightness slider to the left and let's start dividing the faces and making the gradience starts thinking about the areas that needed to be in the deeper shadow. You can always keep the control HD's to work with selection, without the selection board app. Start agent some brighter parts and as always, try not to overdo everything. When you are done with a shadow parts. Let's move on to the basis Andrew. With them. We'll just select the next bunch of areas with a colleague and elicit x2. You can select the little stones here as well or work with them later. Continue adding the gradients. As always, hit the Control H to see how it looks without the selection book says, start aging the lights are parts. Pay more attention to the edges and to the objects that are near to the viewers eyes. When you are done with this part, let's deselect error fan. Let's select some specific areas that need more attention and work on them closely. At that stage, let's fix some places that we miss, clicked or colored wrongly before. Let's take a different brush, get back to the normal blending mode and fix these places. And it currently work on the areas divide the blades, needs or edges, Jacob the other planes and fix everything that you need to fix. When you're done. Let's move on to aid in the gradients to the brides are Faces. Places wafer go to add this extra. Welcome to add it now starts electing the bride's at bars and A1, the gradients to them. Switch to the orderly blending mode. And if you haven't yet added the gradients, do the smallest stones. You can do it right the way you can even work on them without selection. Now we have the texture base and from now on, we can start adding some small details, such as Greg's sake, the round pressure brush, again back to the normal blending mode and start it in the correct and some little details such as beveled edges, big the brighter color of the brush, and start working on the details. You can go with the cracks through the texture fibers. You can split and connect them. Also, you can add the additional planes, uses a different pressure and UC jagged lines make everything look nice. Keep in mind that you might need to darken the white-collar For the darker parts, only zoom and zoom your canvas to know that you're not overdoing error fan. If you need something near by color and fix what you need. Continue agent, the details. You can always add some highlights with a super wide. You can create any kind of Greg's here, not just following the already existing bads and try to add to the end to show that they are separate. So between brushes, smooth edges, if you feel like you need to do it. And the details to the Zionist zones as well at the beveled edges and some sex Jack. When we have the cracks, Dan, we can start making them more realistic by adding the shadows. Here are the timing diagrams to remind her where aid in the shadows to the cracks. Here we might vary the shadow cbd because the phases are not super precise and the texture might distort the cracks. So we need to pay more attention to our sensation of where it feels right, so at the shadows. But mostly we're still basing everything on the following rules. On the light bars, we have some kind of the structure of the cracks. Light strikes onto the bottom plane, thereby forming a highlights that so plane is going to be in the shadow. If we're talking about the shadow part, it works in the opposite way. They're reflected light makes it so plain brides and the bottom part is going to be in the shadow. So let's move on to the cracks and start aid in the shadows. Big the darker color. And let's begin very the darkness on the shadows according to the tone of the face you are working on. Uses a different pressure and different size of the brush, work with a jacket lines. We can also start aid in the larger corrects. Ages while working on the Shadow elements. For the light phases, we need to continue working on that. In accordance with your vision. Some places could be more visible and some ratios can disappear. Everything is up to you because you are creating the illusion and only you know what suits you. Zoom and zoom your canvas to check out the critiques from the distance. The transparent pixels are on logged in z new rendering. Now move on to the shadow side into the bead, the sequence, you can add more. If you want. All the zoom and zoom your canvas is bothering you. Anyhow weird. We can fix it right away. Continue working on the shadows and go through the all light parts that we've made, work on the edges, create some chips and deeper cracks. Don't try to make them very dark and try not to overdo everything. You can add a bit darker shadows and that will make the crags deeper. At the highlights to the bright subparts. Work a bit more on the details by agent more chips, more shadows and highlights. We can even exaggerate outs extra by selecting some Bart's to pull them in or on the opposite, boot them out of the surveys. So let's select some bards and see what we can do with them. You can randomly select some parts between the correct. We can rely on some low Jake. When you've selected all of your bards, we can switch to the blending mode. Round brush and just blade with a selected areas had some gradients or just dark in these parts. Let's hit the control age in order to not be distracted by the selection book says, if you want to add some light, you can do it as well. When you're done, deselect everything. Now we can use a special ethic brush called Sarah that we used before. Let's create one more layer and make the clipping mask lead. Just add a few touches of the texture to our stones. You can change the direction and you can erase some parts if you already eat something or if you don't like it. And also we can play with the capacity. Also, we can create one Malaya, make the clipping mask again and use a brush, gold dust or speckle, Biggs alighted zone and add a few brighter elements. They don't need to be very eye-catching and they don't need to be the first thing that you see when you look at this picture. Try to balance out every fan. When you're done with adding the details, let's merge all the stone layers together. Now we can move on to play with the shape, the opening in the list at X2, and let's add some doubts and work on the shape in January. Zoom and zoom your canvas to see if an agency you work on the seal it as long as you need until you are satisfied with the results, make the edge is not dead. Steve also boilers illegal stones. The last thing that we will add here is a few casts shadows for the ledges parts. So select the areas on this phases and the shadows by using this soft round brush and overlay blend modes. Plus you can work on the distant elements and n the shadows there as well. Don't forget too long to transparent pixels in that case. Work on the whole stones area. And if you need to add some highlights, you are welcome to do it. When you're done, we need to add some reflected light going from the crystal M heating the stones. So let's do the following. Will deselect everything, create one more layer and magnetically been mask, beak some bright color from the freestyle and get back to the normal blending Modes. And two, with a soft drown brush at a few churches of cholera to the Stones. When we have something like that, as a result, we can play with a blending modes on this layer. So open the drop down menu in the last panel, go through them modes and find what suits you. Probably lighten or screen Vivid Light or soft light would be fine. Checkout other blending Modes and stop at one that you like, lay between capacity and find what feels right. And for now, we're done with our second material. Now we can get back to the crystal and more details. It's a good brush and more highlights. Valence, decrease dealt with histones. Work on the edges, a. Select some parts. For some parts with it overly blending modes. Now when we have two materials and a darker background, we can get back to the adjustments and play with the vibrance, balance stars from the vibrance. And if it's fine, how it says, let's just play with the color balance. Here. We can change the shadows, meet zones m, the highlights. So blade with a sliders and find what suits you. And the same we can do for the Stones. Start from the vibrance and play with the sliders. It's also very good and very helpful to look at your navigator window. You can see how everything looks on the smaller piece and you can see what you need to fix. Also check and uncheck the box to see the difference between the original when you're happy with the vibrance, let's go to the color balance and play with these sliders here, go through all free zone balanced options and play with the color balance sliders. Check and uncheck the preview box to see the difference between what you have now and the original. Now, adjust the opacity of the clipping mask layer with the light and when you are happy with stones, our second material is ready. Now we can move on to the last part, which is going to be the wooden stamp. 12. Final work: Rendering wood: Let's move on to draw in the wood and we'll start by going to the layer with its owns and by working on the silhouette. Let's group our stamp from the boards on, according to the perspective, select the area with a polygonal acid Sue and hit the Delete key when you are ready. Let's start working on the new shape by picking the color from the side. We are going to be working on. Take the triangle brush and select the face. Don't forget to get back to the normal blend in modes. Adjust the color to make it a bit darker. And let's start creating the growth rings and some voodoo layers. As always, we're starting from the larger elements and moving on to the smaller ones. Add the Growth Rings texture, according to the perspective, can make the elements and add some notes. Your task here is to create some fancy and interesting pattern. Start painting the details by using the smaller end may be a bit darker brush. You can even start A1 some brides in details, but try not to make them very visible and bribe greed the illusion. When you're done with it, first phase, let this elected and let's go to the next phase. So select that and start to recreate that budget. On this face, we can connect some bars with the previous blame, as always, start from the larger elements and go slowly to the smaller ones. Pay attention to the perspective. Start the details, but try not to overdo. When we're done with this part, let's move on to the last phase and create the button here as well. And now we need to connect some parts with the previous phase. You can deselect the face to work more on the phases connections. But for now, let's activate this election and to work on that soap faces texture precisely. Keep working on the pods. You may deselect everything and work on all the blades at the same time, the zoom and zoom your canvas to check out if everything looks fine, pay more attention to the connections between the planes. When we have that, we can start working on the age is unloaded transparent big cells. And starting from the right phase at the jagged edge. You can also add some highlights. Now let's continue on. Here on the left will be some mean and create the edge. Go down and add the edge to the vertical parts. Ages, usage drags. And if you do the bandwidth edges. Now let's move on and dark and o left face, so selected by using the polygonal lesson. Take the basics of brush switched to the overlay blend mode and start dark in this phase. Try not to overdo everything and don't forget to log the transparent pixels. When you're happy with the result. Let's deselect the face and select derived blame. Raj and start darkening this selected area. 3b, the same folded Zope face selected and darken the distant parts at a beat of light to the nearest to us. When we have this result, we can start working on the smaller details. Let's start adding some cracks and dry the stamp up in January. I'll get back to the normal blending mode. Big that darker color and maybe became different brush start eating the smaller details and go through the wood fibres and separate the texture parts, make the texture Luke more believable. When we added some smaller x and details, we can move on to the MKL cracks, dark brown color, aiding the Greg's going through their attention to the direction. E. If it's not looking nice, you can fix it by nearby gala in by Bayesian over this blazes. Zoom and zoom your canvas to see if everything looks fine. When we have the cracks, we can start the highlights. We're going to be doing it the same way as we did for the stone and other materials. And start working on the same principles as here on this stone, uses a different pressure. Lines, go through all the cracks by trying not to overdo ever Vin. When you are done with A1, the brighter parts, let's work on the seaweeds will cut some places, make the cut outs and work on the whole shape in general, let's take the area or you can use the polygonal list if you want to start working on the shape. So go through the whole sheep, make the cuts out, and create an interesting EndNote supersede z. Let's keep in mind that perspective. When you're done with creating the ledges guilt to the already familiar image adjustment and we the vibrance, scroll this sliders and fine. Then go to the color balance subset, and let's adjust shadows, zones, and highlights lay with the sliders until you are satisfied with the results. Try not to overdo everything, but at the same time, tried to balance the vote with two other materials. If you already like the result without these adjustments, you're welcome to skip this part. The next thing that we need to add is a cast shadows. So let's create one Malaya, a bug, devote one, and let's set it as equipment mask. Take the triangle brush and let's create this shadow under the Stones being the color from the wooed said the blending mode in the last panel as multiply and according to our light legis create the first shadow. Tried to make the believable but nice shadow. And don't forget to add the shadows to the little rocks. You can use an array is at x2 to fix some places and make the shadows moralistic. Also play with the obesity on this layer, we can invoke the hue saturation window by hitting the control you and maybe adjust the lightness and saturation of the shadows. Rely on your sensations of how the shadow would look nice and balance it out with the whole composition. If you need to fix the shadows shape, you're welcome to do it now. Now let's move on and add the cash Shadow of the whole composition to the grounds. We're not going to be built in it by using the whole bunch of strict rules. We'll just make it in a rough way. You can use that brush or polygonal lists or to create one more layer under the layer with the food. And said the blending mode of this layer as multiply big some darker color and decrease the capacity. Brush or polygonal less U2 and start making the shadow. Let's for now stop at the polygonal less or to make the selection that would approximately repeat the shape of our composition. When you have the selection, fill the area with color. Fix the capacity if it's needed. If you think that you need to fix the direction or inscribe it more into the perspective. You can always use them moved to an adjusted the way you need. If you need to move just one anchor point, hold down the Control key and move it adjusted the way you feel it will look fine and balance out this shadow saturation with the whole drawing. Now let's hide the layer with the color palette and move on to the final beautification creates a new layer above all the layers that we have to take the basic soft round brush and enlarge its size. B exam color, any color you want, but keep it pretty bright and add a few touches on the crystal and stones ARE thereby creating the glow or, or effects. Here we can play with a different blend modes. The Color Dodge, all linear light look nice, but you can try to find the blending mode that suits your drawing. Now you can adjust the capacity and we can play with a hue saturation sliders by hitting control you and adjusting the color of the glow that is going from the elements. You can use the same color as a crystal or play with the different zones. The blue glow looks pretty nice here because it's making some contrast with the crystal and brings out the background at the same time. So find your collar and let's move on to the final adjustments. Lets you got what we can't fix and what we can make better. Maybe we'll make the left face of the of what a bit darker so we can switch to the overlay blend mode and again, dark in this part and any other parts that you need log the transparent pixels. If you have fall when they fixed in steps. They can look at your picture in general and check out if you need to fix any funnels, thereby balancing out the whole composition when you're happy with the result, let's add a few F X4, the glow create one more layer above all the layers. And let's take this S-shaped brush, which you can find in a project and racists up being some bright Cao, once again, decrease the capacity of the layer and let's create some smoky or magical effect and circling that soap elements try to make a nice S shape and to use a different pressure while making it lay with capacity and blending Modes. You can invoke the hue saturation window and play with the sliders. We can also areas the parts of the global land from the top, all the elements. It will put the objects in the center, and this effort will encircle decomposition. Also, we can add a few speckles following the global line by using the relevant brush. Brush, dust or speckle, create one Malaya and just add a few sparkles going through the shape. As always, try not to overdo every Fen Lei with a blend modes. Now when we have the whole picture, we can move on to the final color adjustments, go through the layers with the elements, play with obesity, few saturation and color balance, balance out the whole picture and make them nice contrast between the elements. If you are already happy with the result, that you can skip the final adjustments. If you need to fix the colors more precisely, for example, here on the boot, you would like to adjust the yellow zones. There is a drop down menu in the hue saturation window, which we can use for this purpose, you can choose directly the zones you would like to adjust. And if you choose, for example, yellow and going to be playing with sliders, only yellow tones on your picture or the league you're working on would be adjusted. So click OK when you're done playing and that's ead. In the end, we will have something like that's a vet will be all for deferred, dedicated to the materials part of a drawing course series. I hope you found this class helpful and if you liked it, please subscribe so you won't miss the next part of the series. We'll, we're going to be exploring the color theory, checkout the other classes and leave your review. And thanks for watching.