Photoshop Painting - A Glass of Iced Coffee | Joseph Francis | Skillshare

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Photoshop Painting - A Glass of Iced Coffee

teacher avatar Joseph Francis, Check out my classes!

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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

10 Lessons (2h 21m)
    • 1. All This From a Hard Round Brush?

    • 2. Initial Lay-in

    • 3. Initial Color Rough-in

    • 4. Refining. Watch, Skim Through or Skip Over

    • 5. More. Watch, Skim Through or Skip Over

    • 6. Getting Progressively More Detailed

    • 7. Further Along. Skim Through or Skip Over

    • 8. And More...

    • 9. Further...

    • 10. ...and Finally

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About This Class


In this class we are going to use Photoshop to paint a glass of iced coffee using essentially traditional techniques.

The dark liquid, the ice and the glass present some interesting materials to paint, but painters approach all materials regardless of how they appear with the same mental toolset. 

We are going to use a single brush: a hard, round brush with pressure-sensitive opacity with which we will blend and build up color density.

We are going to start out simply and as we work we will constantly ask ourselves:

What do we now have? (which way are we going?)

What do we want to have? (toward where do we want to go?)

How do we move the painting from where it is toward where we want it to be? (how shall we steer?)

These questions will form the basis for our working method. Before we can steer a car in the right direction we must first get it moving. Even if it is initially moving backwards.

So lets jump in and start moving! Even if it is initially in the wrong direction. We will steer as we go, but we can't steer a parked car.

Meet Your Teacher

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Joseph Francis

Check out my classes!


I started in New York at what is now called RGA Digital Studios, but was then called R/Greenberg Associates. I've worked at many of the top motion graphics and title design companies including yU+Co and Imaginary Forces, and with top creative directors including Kyle Cooper (Prologue).

Visit my LinkedIn profile here.

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1. All This From a Hard Round Brush?: we're gonna be painting a glass of iced coffee in this class and we're gonna use photo shop . The reason I chose that subject is because I thought it was an interesting looking one. The way the colors kind of fade away into the darker liquid in the way the the ice has a kind of a translucent effect to it. We're gonna be using a in Photoshopped, a smooth, round, hard brush, and we're gonna be using opacity blending. And these are things that are available in many different app. So you'll find them not just in photo shop, but in many other places where you go. And even though we're gonna be using a hard brush, we're going to be getting some nice soft blends. And the basic technique is we're gonna be laying down color. We're gonna be easing off on that color, and we're going to be laying down another color and easing off on that color. And then maybe what we'll do is sample an intermediate color, and we'll kind of repeat that process a couple of times until we like the sort of blend that we're creating for ourselves and what's nice about that is that you can get kind of painterly effects that that are more interesting than just a blur or something like that. They retain a little bit of texture in the blend. We are going to jump in, and then we're going to evaluate what we've done. So, um, we're gonna basically be repeating the loop. What do we have? What do we need? So it doesn't really matter how we jump in, actually, because no matter what we do, we're gonna look at it and we're gonna go. Okay, We know where we want to go. How do we change? What step do we take to change this? What's what's what. One simple step. Do we take the change, what we've done to move it in the right direction? We don't try to solve the problem in one step, of course. So it's kind of, um, based on the principle that you can't steer a parked car. If you want to go somewhere, the first thing you have to do is get the car in motion, then you can steer it in the right direction, even if it's initially going in the wrong direction. Even if it's initially going backwards. It has to be moving. So with that in mind, I hope you jump in and enroll and let's start painting. 2. Initial Lay-in: I tried to pick something relatively simple, the paint and I ended up choosing a glass of iced coffee that I made for myself. Drawing is important, and if you don't get the drawing right, you're painting. Won't look right. You could also say, In fact, people do say that painting is largely drawing. But, um, if we're going to separate the two and talk about just kind of the layout of the image on the screen or the canvas versus adding painter pigment or color digital color to it, then I wanted to make sure that the drawing was kind of already worked out because I want to focus mainly on what I would call the painting side of things. So, um, with that in mind, I made a few dots here and there on this image. You can see them in purple if I toggled Monnitoff. There they are. And I transferred those over to this image and you can see them here as well. They were originally the same color, but they didn't show up against the grey, so I changed it by negating it Control. I command I on a Mac, and I put the whole thing over a middle gray color, so that we have already some tone on the canvas that we can kind of go up from matter. Down from that a lot of people talk about putting tone on the canvas is a way to kind of get over the intimidation of the white canvas. But it's more than that. The white canvas makes it harder to judge values and colors. It's easier, I think, to judge it when you've got already a middle tone, middle valued color down on your canvas. So, um, using a round brush hard, round brush and it's pressure sensitive. So that means if I bear down lightly, I get that. And the harder I bear down, the more I get that moral Pake it gets. Um, let's look at this for a second there. Some details here that are kind of interesting. One is that as the ice approaches the glass, you see the ice through less and less coffee, and you see it more and more. It's actual color, and as it goes away from the glass, it recedes into the coffee and it gets more and more coffee colored. Um, but it's not a straight blend from one thing to the other. It actually gets redder as it goes, and it doesn't just get darker as it goes in. So it's kind of yellow or orange e here and in a deeper, orangey, redder color until it's quite dark here. A lot of little details about things that really kind of make it the bending of these lines here, the refraction of the, um, rim of the glass here and to really make it look right some time needs to be taken to capture those details. I'm gonna try to capture them to some extent. We'll see how it goes. So, um, let's begin. Uh, I'm gonna try not to pick a color from this side of the canvas because I think it's good practise not to. And I'm just gonna Ruffin um Well, let's see. Maybe I'll Ruffin sort of, uh, a darker gray. Just to begin with, I just sampled the canvas. Here's the color. Gonna bring it down a little bit, Teoh. And I'm gonna make sure I'm on the lower level. I don't wanna be painting on my marks on a P painting under them, so let's see. This goes up like this. This goes down into that ellipse like that, and I'm going to try to talk as much as possible as I paint. But I may get silent for a time. I'm using the gray from the background color and painting back in now. Um, so let's see. Here's the soda are the coffee level and this goes down. That kind of flares out like that. I'm getting a little bit of the background in painting, painting back in again. I'm grabbing that gray color again. This happy with that line, I'm gonna back up. That's the nice thing. What digital painting is you can do that comes straight down, Come down like that into this into this. Now, if we look at the bottom of the glass, it has a shape kind of like this. And now here's the coffee level. Comes around like that. And now I'm gonna Ruffin the ice comes through here down like that, and this goes all the way up to the top. There was just past there, a little hint of it there. It's like this was right up onto the glass and it forms straight section there. And let's see between these two down to their and then that's kind of like that. And then it's sort of a dark one. There, there's this one kind of sticks down and let's see from level with here to about there. One there, one there. This right one there. Um, this whole thing sits a little too low and repaint it. Just take a second. It's the color. So let's see. It's Ah, it's just is that there is that there's the There's that. Okay, um, let's see, from out of here, there's a line approximately like that, and through this line here like that, this goes through there. Okay, that's pretty good. I'm going to stop here now. I'm gonna pick it up in the next video with the beginnings of actually laying down some color 3. Initial Color Rough-in: I'm gonna rough in the colors. Now, let's see what we have. I'm gonna go for this color now. I'm gonna go for the gonna go for the soda first. So the soda is a very dark orange. So we're going to go with picking color over here. See? How does that look? Could be darker. This is supposed to be that basically looks like it could be a little redder. Looks pretty good. So what I want to do is just get some of this color down, because again, it's part of the process off evaluating what you've done saying, what have I got? What do I need to do? So one way I like to describe it and I may have already done This is to say that you know, you can't steer a car unless you get it moving first. So it's the same thing with a painting. You can't evaluate the quality of your work unless you put some work down toe. Look at, for example, right here. This is not a lot darker than this, but, you know, press forward And maybe on this layer, I'll put some color patches as I come to them. I need This looks a little cold to me. Like I think it could be darker and less saturated. And let's see, what else have we got? We want to have some, Well, a warm white, maybe brighter. Is it in fact, warm? You know, that's probably daylight coming through. Yeah, I think I like that better. It's almost the same shade of white, but and I can back off on the pressure. We'll revisit that later. Forgets roughing it in now. Accidentally made a bright spot there. Let's back off on that a little bit. So let's see. You seem warm to me. Wow. It's funny how every so often I accidentally I got one over there, too. Think it might be? Is it that they did something with the button on the pan? It may be that, Yeah, that's what it seems to be. Thanks. It only press the button on the pan while I was okay. I'm picking a color from this painting side. I don't mind picking colors. See, this is cute little thing Cube. Little thing. Cube. Dark over here. Don't mind picking colors. As I was saying from the painting side, it's the photograph side if I'm going from a photograph that I don't really like to pick from. Let's see, we want orangey. I'm looking here. It's gonna be knocked way back going to ignore that object over there. And I think maybe I will wrap it up here for this segment. I'll come back and refine it in the next segment. 4. Refining. Watch, Skim Through or Skip Over: All right, I'm gonna see if I can finish up over the course of this next video brush, make it smaller, sample the color, make it darker, and it's possible I may not say as much during this video. One of the things that I would like to do is communicating everything that I'm thinking as they paint this, but a little hard to maintain that level of concentration when you're painting. I've noticed that a lot of times people will make instructional painting things and they'll get quite quiet during it. And I can see why that would be because you really cut balancing a lot of things to think about. The main thing you're thinking about his color value, saturation and drawing issues like am I putting things in the right place seem like there's a gap here. And you know, I have these little dots here. So this is about there. This is about here. So that gap be more like this. And the other thing is, you know, whoever sees this ultimately doesn't necessarily get to see what you know what it's being compared to. So sometimes you do, sometimes you don't. But in a case where you don't really. The main thing is is the Is the image good? Does it stand on its own? - Let's see. This is almost green. What I'm seeing over here. Almost. Okay, let's see. This is similar. This, um, could be a little gray er and a lighter. I'm gonna get a gray or light or color, and I'm gonna put it in at a lighter strength. And this color be like this. Um, this is a we need to knock these whites down. Really? Not that strong. We need Teoh reserve. You know, the really bright or the brighter whites for those edges there. - Let's see. This needs to be warmer. Warmer, warm, warmer, warmer. Miss Eaves to be redder and more saturated. You don't wanna switch to the hue, saturation, brightness, sliders. See, read saturation. - So kind of focusing on that ice cube. Perbet, um, take a break. Even though I was optimistically thinking I was gonna push through in one sitting and I'll be back in a moment 5. More. Watch, Skim Through or Skip Over: Okay, we're back. Brush. What color do I have? What I would like is I want to have handy this sort of dull orange color and this sort of dull cart caramel color. So let's go after those. Maybe I'll set them on another layer. Although it doesn't matter. You can always erase, um, for paint over them because it's opaque paint, you know, Um, so let's see, this is fundamentally ah, warm orange. And I'm looking here That could work to see Maybe all set that aside here. And then I want to have a, um a yellow or color. It's very difficult to get yellow not to go green. I could possibly work. We'll give that a try. So now, uh, let's go after. Let's go after this glass for a second filling in the soda and I'm painting on the wrong layer to that happens sometimes when you have more than one layer. Okay, here we go. You know, maybe I'll lock this layer. No, I can't accidentally paint on it. Just checking. Um, let's see. Dark red going to go after this? I think what I want to do is I'll show you. I think I want to go after this ice cube as dark red, that yellow color and then no, this ice cube color and the knock this back into the soda. See how I make out with that? So this gray makes it actually all above this dot So, actually, maybe I'll go for I'm gonna try to get it a little bit more correct. There's the Ice Cube there. Here's this ice cube here, and I knocked this back into the What I do is I take the soda color, you know? And when I paint it with capacity back on top of the back on top of the ice, I want something warmer now . Good of that gold color through here. And a bit of this nice color. I'm trying to put a little bit of that really warm. So the caramel kind of dark caramel soda color. Um, knock that back with some of this. If five. It's appearing behind this. Um, let's see. Transfers on. I have those both set to You know, I could I could soften the brush. I'm kind of trying to demonstrate here. I'm holding shift and the left bracket, and that softens the brush up. Um, I was kind of trying toe demonstrate just painting with the hard brush. But here's what it's like to had a soft brush into the mix there, getting a kind of a Greek. I'm gonna hard in this brush up a little bit, actually. Don't like it super soft. I'm getting sort of a green. Um, I'm looking here for the hue. That's a little Yeah, And I had just painted that I'm a different layer. It doesn't really matter. The layer stuff so much, um, made just for the hell of it all is to be consistent, unlocked that paint on that layer, Lockett. Okay. - Okay . Um, - see , this whole thing needs to go up. There's that point this up into here and then under here they're soda. So then there were highlights on the glass and those darks and lights and these soda, and there's the bubbles, and all these things have to be attended to There is the slight shift in color in the ice here to the dark, the darker, um, bunch of stuff still to be done. Let's see Teoh saturation. Right? This saturation, actually, this away, that's more like it actually could be even lower, - and maybe we'll take a little break 6. Getting Progressively More Detailed: Let's jump in again. Um, let's knock this back and let's put some this in here. - So this kind of when the capture, what it is that I'm actually seeing get some of this little green yellow green and there's some frost and highlights and is that there's a glancing reflection on the glass here as the I strikes the very edge, and then it bound itself into the background. So you pick, you pick that up there and there, there, that has to be captured some point soon. So see, we wanted to be more like this color coming through the glass warm, and this color is over here and now we want to pick up some of that brown color and let's see, we wanted to be, - um , - some of these lines and I still wanted to be kind of like sketch like, you know, So I'm not using the tricks that, like, for example, you can put a line here and hold down shift and get a straight line like that between two points. I'm not doing that on purpose. I don't know if you can hear that, but that's my cat. So I'm going to stop 7. Further Along. Skim Through or Skip Over: Okay, let's continue. And I think at this point I'm going to start pushing in. Let's see, we are at 25% here, 100%. It's too big unless perhaps we're going after certain aspects of it. That's good. No, I'm gonna work at this larger size B for brush to see that's pretty dark and a little red along the edge there and then cut in and let's see, um, we come down and because we're zoomed in, we can get fairly precise these curves going after this little thing here. Okay, now, all right. Now I see like that we want to knock that back a bit. Now, coming off of here, Let's see, it will turn down the A pass ity and shaped kind of like that, Not this back. And okay , let's let's see, this goes like this. And this goes like this. So trying to capture this shape here and let's see, right down from here through here, into their there's a line. So this basically ends here. It's pretty dark, so let glare gets put back in, and this is all pretty dark. This is pretty red orangey. This is kind of Brown goes like that, and there's a little bit of gray sort of glow here. - Okay , now this is out like this, and it gets pretty dark over there. This is pretty dark. A little bit of warmth. There could be pretty dark there. Dark, dark, dark, dark Now into the glass, Cut back in. And again, I want this to be a little, you know, painterly. So it's gonna be is gonna be, um, - So some of the grey over the glass here with gray or the glass here and this is a little bit on the greyish side right now. I'm going control old Z. There it is. Funny. There was a lag there. I thought it wasn't doing anything. Okay. All right, Here. We g o Let's see right around here that goes up to there and see is a little patch brightness there like that. Now, this is like that yellow. I see. Get some saturation. And there some under here, some over here, and this works its way up into saturation. There, the and over there. - Okay , knock that back. - Okay . What have we got going on here? There is some. It's redder. This is a little redder. This is a little Ratter. It's a little redder. This is a little redder. Um, - so true. All minus. How are we doing? - Um , even said much this time around, and maybe I'll take a little break and we'll continue in a bit. 8. And More...: and came back for a little more. Um, let's see, What can we do here? For one thing, this dark soda extends up a little bit higher, and there's a little of this yellow color here. Great. Goes off like that. It's kind of soft. Um, the table hotels do this, and it's the glass. Um, okay, It's a bit dark there, and it's a bit warmer, more saturated and a little bit redder. And that does a little bit of that over here and a little bit of that over here. And let's see. Early dark line. So now let's pick up some of this brightness and a little bit there. Andi, this can go all the way down. Put that back in. Let's see. Okay. Okay, now coming off of here and Okay . - Okay . - Okay . Now might be a little brighter in here. And a bit brighter. Misdirection. And let's see off of this. - Hey , now, is that grazing edge stuff I talked about earlier. Now cut this back in. - Okay , - Now , see, there's a gland right there, and there's one on the rim of the glass. And if I make this wider one here and I cut this back in to make it sharper. Now there's a little bit of darkness cutting through here and a little bit of darkness on the upper side as well. And let's see, - kind of cutting back on that. - No warm, warm gray. Maybe Like that. And let's see of five, take one of these toe off and leave the other one on pen pressure and right. Brighter maybe, uh, control Ault. Well, zoom in. Okay, brush. - So now we need to cut back in with Cem. Read here. Brown here. And generally sort of cutting back here is Well, - um , let's put this back on the pen pressure. It takes a little bit more away. - Okay , you put a few more highlights on these tiles. Uh, control all to minus control. Waltz minus. - That didn't really help matters. Gonna back up off of that. Just leave it like that. Um, - okay . - No , it's quiet in here a little bit. Oh, every so often, I get one of those super hard ones. - See , I can work a little bit of the extra dark in between here slightly. I think maybe we'll take a break here 9. Further...: okay, we're back. And, um, I'm gonna take a little shortcut here just to kind of speed things along. CEO soft this is and how soft this is. You know, I could work a little harder. I'm working with a hard round brush, so it takes a little bit of extra time to get that to work. But I like the slight texture that that brush produces, so I'm going to continue using it. But, um, just for a quick shortcut, I'm gonna blur this image, so see the difference blurred. And now that it's blurred, it kind of resembles that. And I'm going to hold, shift down and re enable this mask. And so the mask has allowed me toe blur it only in certain areas, and I'm just gonna commit to keeping that. So I'm gonna say merge down. Um and I'm gonna say, um, gonna continue. So let's say also, I'm going to get rid of this upper layer, which has thes little dots of color in it. You don't really need anymore because that can pick them out of the painting. And it's got these green little tick marks that I used to have to keep the drawing on track , and I'm gonna I'm gonna just turn those off so that they're not so distracting anymore. Um, so let's see, just kind of returning with a brush. And I see I have a small brush after testing it just then. And, um, I'm going to pick a color. Yeah, and brighten it. And it looks like that's pretty good right about there. Perhaps a little bit more brightness. There it is, a little right on the edge there, A little bit right there and some right there. And this is a little bit dark. Get some darkness. There we go. And put a little of that in there. Maybe go a little darker and a little smaller. So let's see this. This is pretty thin. I'm gonna cut that back and there's a little bit of brightness right here. And let's see, I've got a little brightness in there. See a couple of dots on. There's a few dots here, and this is yellow er so we can push the hue more into the yellow and perhaps a little brighter. A little. Yeah, a little brighter. I know I just blurred this area, but I want to get a little bit more of this kind of yellow in there. So in the blending that back pushing that down a little bit with a little bit of this warm little bit of darkness there. Okay, um, let's see. This is too saturated here. This needs to be grey. Er warm. Warm is one thing, but it's it's definitely, you know, Gray and let's see, And we can hit it with a lighter touch here. So this is actually yellow, are greener, is a little bit of that here little here. And let's see some of this just gray or stuff kind of coming off of this. We get that sort of warmth going on here. And is this some focused light here? Some of this green here, you know, sometimes, uh, red and green on those colors where they're really de saturated. They're a little hard to distinguish when they're hard to distinguish. It almost doesn't matter if you're slightly wrong with it, as long as you see the impression that's right. I mean, if you sample it turns out I was wrong. You know, it doesn't really If it looks good, it is good. Let's see um, get some of this bright color here. It's Highlight edge. Gonna be careful going into this shadow because it kind of guys out there picks up again here. There's some there, actually, a fair amount here. Kind of rolls off into the into the tile more. I'm gonna cut this back. I'm going to cut this back. Um, let's see. There's a little of this kind of funky green deal going on up here, too. And here, a little bit here. Little bits year. So she not so much in the glass. And it's kind of slightly it's this red or deal over here really slight over that. Here a little Here, this is more just this and let's see. Um, we got a, um I'm not gonna do this cable. I'm not going to this yellow thing. I'm not gonna do this. A little reflection coming down here or the dirt so much either. Um, I may pick up on these edges. - Um , a little bit here. A little bit here. Year, year. Little bit there. Takes him dark. Put that back in six and dark. There 10. ...and Finally: Okay, back again, and let's push forward. So I have my brush be Oh, my God. That I think this a little larger, and I'm gonna pop this out a little bit there, and I'm gonna scooped that in. See, how does that look? Could be good. Um, let's see. Now I have I'm gonna work on these ice cubes. So I got some dark color here working its way in, and it comes, you know, fairly far around. And let's see color wise or more like one of these. So the yellowish colors take the whole ice cube down into that territory, and we need a little bit of brightness, and there's a little bit here and there's, Ah, chunk here and a chunk here. And is it kind of a zone of it to there and get some of this brown color more like this coming around the corner. It's a little bit more sort of soft edged. This hooks around there and we got some kind of warm color like this on may be all. Maybe I'll, uh, second time I've hit the windows button on this computer. Do that, and I need more kind of yellow up here. Really? Yellow. Yellow green? No, that looks pretty good. And let's see, we need some for off coming through here. Sort of these bubbles and a little bit of darkness coming up underneath. Andi Physical bubble. There a little bubble there. Okay, now we have. Let's see the bubble bubble bubble bubble much right. Like those. Why don't I like, um, they are, too. Maybe they need to be. - And these bubbles have a top half. That's too bright. Try this pretty good. I'll go with that. Um, let's see. The glass has a dark gray that comes around and through and has a light gray. And that does that. Maybe we'll do that and we'll pick up a little bit on this lighter color like this in that light color goes right on through and it goes through the highlight. It does that and this cuts through like that. This cuts through like that, and that kind of does that and get a little bit of darkness over here. And you know what? It's a little bit green or two. Maybe not that green. And I don't see this color needs to be de saturated. Some more this does. This is a little bit of that here. Some of that around here. - Okay , um, coming into the home stretch. I thought I was gonna be there some time ago. But I think I really am this time. Or at least a faras. I intend to take it. Uh, let's see, there's some really faint, warm highlights. And you know what? I'm gonna clearly that's too strong. A little lower the opacity. Quite a bit. Okay, That's still much more than I want. I'm gonna lower the flow. Interesting. Not sure why that happens. I think it's because my finger catches the button on the 10. You back off of that and make it smaller because there's a few lines coming off of it. I guess I backed off so much that my color is dark brightness. - Oh , here I go. I missed this. This needs to be, um, less saturated. So I'm gonna get a darker gray, and I'm gonna work it in here. Not the opacity way down again. Bring that up. - Okay , I got a little line coming in here, and then we have a knock that back. Now, this could be a little darker and this could make a little thing here. And this could kind of come down like this. Upsets too simplistic. So it's a little uneven here and there, but it's got a certain charm to it. I think I might leave it. I think I might call it painting. Thanks a lot. I hope you enjoyed it. I look forward to seeing yours. Pick something simple. I was kind of, you know, trying to pick something where I had a lot of textures to it, Like ice and liquids. But you don't have to do that. Um, pick something. You know, like on egg, if you like, just to sort of get a handle for cause Not everybody realizes that you can paint with the hard brush.