REALISTIC VECTOR ART PRINCIPLES: Your Giant Leap as an Artist (Affinity Designer, Adobe Illustrator) | Isabel Aracama | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

REALISTIC VECTOR ART PRINCIPLES: Your Giant Leap as an Artist (Affinity Designer, Adobe Illustrator)

teacher avatar Isabel Aracama, "Every expert was once a beginner."

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

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

19 Lessons (3h 28m)
    • 1. Realistic Vector Art Principles

      2:13
    • 2. Choosing & Preparing References

      12:27
    • 3. Choosing & Preparing References Part 2

      8:13
    • 4. Blocking The Main Shapes

      4:00
    • 5. Start Detailing

      7:45
    • 6. The Importance of Hierarchies

      2:41
    • 7. Details Part 2 - Treat Yourself

      11:07
    • 8. Details Part 3

      10:40
    • 9. Details Part 4

      8:26
    • 10. The Door Handle

      7:59
    • 11. The Wheels

      19:13
    • 12. The Wheels Part 2

      18:04
    • 13. Front Part 1

      14:17
    • 14. Front Part 2

      14:34
    • 15. Rear Part 1

      23:10
    • 16. Rear Part 2

      20:49
    • 17. The Mirror

      8:04
    • 18. Fine-Tuning

      13:08
    • 19. Final Message

      0:55
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

603

Students

9

Projects

About This Class

In this class you are going to learn the principles, techniques, methods and mindset involved in the creation of highly realistic vector graphics. This is a project oriented class, where the student will follow along together with me in order to create the final project which is a full vector realistic car.

I used Affinity Designer for this class, although the  principles, methods and techniques are the same for any other vector software, so it's up to the student to use this or any other software. It is aimed for intermediate users who have familiarity with layers, masking, effects, transparencies, gradients and boolean operations (subtract, add, combine, intersect, divide).

Final Project

0468412a

Meet Your Teacher

Teacher Profile Image

Isabel Aracama

"Every expert was once a beginner."

Teacher


   

Hello! I've been a designer & illustrator for the last +20 years. I'm a BFA (UPV, Spain) and Science Illustration specialist (UA, Portugal). I have a knack for digital and vector drawing.

All I know, you can learn, so get on board! You can also visit my site and follow me on Youtube, for more free tutorials, updates, and news and join the student's Facebook group where we discuss illustration and show progress.

 

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Realistic Vector Art Principles: hello and welcome to this class where you're going to learn everything you need to know about realistic vector illustration. But the aim of these classes for sure, not learning how to create a perfect, realistic car because that's just the consequence off a full arming process, where you are going to get all the insights and all the methods in order to get these high end results. Having working with vectors for some years now, set designer and illustrator and I have created commissioned work and illustration for most off the main software companies like bohemian coding Sketch Gravitt that is now part of current operation. What I work development is over itself and, of course, serves affinity. Designer. We are going to be working together on the flight, which means that you will have a chance to see all the challenges we're gonna find along the way together with me and how to solve them. So for these, most of the classes are record that presented in real speed except when we're repeating concepts. But for sure, you can always fast forward rewind, stop scheme and for sure should you have any doubt that so in this class I am the teacher, but so many other times I am a student. And if there's one thing that makes me choose one class over another one is seeing a committed teacher, so you can be sure I'm gonna be with you all from the process. And should you have any doubts or questions you can always ask me. We will be using affinity designer for this class. But these principles and methods applied toe any vectors over out there. So the aim of this class is not learning how to use this or that tool. I expect you to be an intermediate user who knows about layers, transparencies, radiance and Boolean operations. And that's all it takes. I can assure you we're not gonna be here using a full arsenal of tools. It's much easier than that. What we're gonna be learning here is when and where to use these tools in a much more clever way. So let's go now. Let's start this class together and let's become a much better at this 2. Choosing & Preparing References: Hello. This is the first lecture, and we're going to be talking about references. So what we're going to see here is not just going on the Internet, picking the perfect image, copy, pasting it, pasting it into a compass and stopped working. No, that's not what I want. What I want is to pick a reference that is far from perfect, that we're going to learn how to fix. Also, I would like to talk a little bit about what Scots and what is not to look for. Okay, so let's start and see how old this is done. As you can see, this image here is not the perfect sets ready for us image. And this is suddenly what I wanted to do just to pick something that waas far from perfect , with the background full off reflective lights. And so we're going to pick this in order just to be able to analyze what's going on there, put it into our software and chase a little bit what's going on so that we can make sense changing the environment when it comes to looking for references, while the first thing I do either go into aside over just getting it from the client, but say we're just doing more for for ourselves. So I go to and splash and I start looking for cars. Usually I type profile car instead of just car. If I just type car and I'm gonna get the Lord's Off cars, what do you want to get is, anyway? Something like what I've just showed you and not images that are full off. For example, these one. This is a nice car, and it's, ah, good profile. Picture the position of the car, but I wouldn't get this. It's overly burned, and it's full of reflections that you can get rid off later on. But you cannot really get to see what's going on in the weirs. No, it's not a good reference. So avoid these kind of images, even though you like the piece, the car itself, where so many others that are much better. For example, this would be a good one, but it's a little bit mats, so it's gonna be harder for you to just get the good stuff are of its because you don't have the visual reference so easily. Maybe if you are not very experienced it. You prefer not to go for a picture like these, even though this is useful, I would just not go for something like this, either. Starting out. Let's just take these one nice car bought. This is a mess. It's full off, all kind off reflections. Just don't go for these kind of images unless you just want or need to do this car. You take the silhouette and then look for all the references just to figure out what's illumination there with the lighting, because otherwise it's gonna be really complicated. So just starting out with these things, I would say go for an image like this one. I big, which is, as I said, far from perfect. This one here is far from benefits, boss. At least we are only going to have to just change a little bit. The contrast the lights and we're going to get rid of these reflections and, of course, the background. But it's not overly complex to do so. OK, anyways, you can work with us as many references you as you want, but because one of the things I want you to to learn in this class is how to reproduce something like this. We're gonna go for this. We have a little bit off this area I just talked about. And the rest of the class is gonna be about how to recreate this. The victims. So anyway, am I found this image in finance class. You can download it from the documents in this class, and I would like also to credit the photographer Immanuel Kant A Carlos, thank you very much for sharing your beautiful picture with us. And let's start with preparing your reference. And I am going to copy its I'm gonna go back toe affinity designer. And by the way, it is you see, here is exactly what we're going to do. Now. We're going to create an environment and your environment by creating a mask all over the car and we will start working. So what you see here is my background with the original photo and I'm going to press common and great and you can pass. We're going to see here. The settings for this new document is gonna be web. It's gonna be in picks us. I'm not gonna print so rgb for the color formats. The wit is going to be 3000. Picture. Ellie, hide is going to be 1000 800 pixels. The FBI's 72. If you want to print your product, just go ahead and prepare office for prints and, you know, change the DP I etcetera. And also the color former to see and like a But I'm gonna do. So s so I'm just gonna leave it on the web and digital. I'm ready to go. I click. OK, And I have my new campus here. Okay, this is much bigger than it looks here. I'm gonna press. Come on. One. So you see that this campus is much bigger. This is 100% but anyway, I'm gonna assume out now in order to pace the image, just cup it. So Command V and I have enemies. So the first thing you can see here is that the car is quite small. It doesn't really matter. First thing I'm going to, though, is applied with this tool here. The vector crop tool. I'm going to make this this this and this because we don't need that background. Now I'm going to make the car bigger. Just don't worry about the resolution. because it won't be that, but and then we're gonna drove over it so it would be perfect. You know, vectors are absolutely scalable. So this is right now. The next important thing is to a stop naming things, because this is one of the things you want to do. Always. It's very important, especially when things start to get complex and its naming your layers and objects because at some point there will be so many that you have to have some organization there, at least for the main groups. Now I'm going to lock it. What's important so it doesn't get in the way, and I'm going to make this a little bit more dramatic, their shadows and lights just because you know it's a little bit flock. I don't want to go over the top, but I want to play with a new adjustment layer that say, which is the basic brightness and contrast. It's just decreases a bit, increased these a bit. Just be careful not to lose all these little details here, because if I go too much of the talk like you see here, you lose it. So that's not what you want. You want to keep, you know, little leaders spot maybe increasing beats the difference or the transitions between shadows and lights, something I let me see. I think this could work. So you see what I've done and what's the difference? Just a little bit more contrasted. And last but not least, we're going to create a mask around our car around the main body of the car in order to get rid off the background. But with this action, we're going to also create the main body of the car that we will be using to a start join. So I assume you know how to use a pencil. And this is something basic that you have to control in order to take this class. So if you still are struggling with its just go ahead. You look at my car sales because I have one that will teach you how to master it, how to use it through three methods that will make you absolutely control it. And once you are controlling this, just come up here and take this class. Okay? So if you're struggling still with a pen because it's releasing in less than two hours, you're gonna be mastered in it. Okay, So what I'm going to be doing is creating a mask around the car to get rid of the background. And this part is gonna be time lapsed because, as I say, I take for record. You know how to do this. Okay. So go ahead. Do as I go. Just one thing before I start tracing very important soon in and pan with your space bar. Because the closer you are, the better your drawing is going to be And try to be very faithful to what you see. It doesn't have to be perfect at the first past. You can also fix it later. Both Just try. If you see here that there is thesis around the corner or whatever, just try to respect it. Because I would just make things look exactly how they have toe look. And we're trying to be here as realistic as possible. Okay, so let's start in a point that has a sharp anger. So it's really easy just to make it perfect. I mean, you don't want to start here because we just got here and you have to close it year, and it's not gonna be smooth so it's not in and sharp anger. And let's start joined off course you want to skip things as the lights or the windshields . Now you are just tracing their main shape in another interesting thing to do for sure, is working these in a color that you can really spot easily, maybe a little bit even thicker. Not too much, just a bit thicker so you can see it easily and keep on drawing. I mean, here, this is going to be covered by the lights. So I don't really care about these line being like this. I don't need that. It's better just to put it below so it will be covered by that. And I just don't overlap two lines, one notable there that that will make a bat's drawing. Probably you're not going to make them to overlap perfectly. So you want to make it in such a way that it won't be seen in this will be covering that. But okay, so I keep going. These decisions you have to take in such a way that they make sense. Each piece is different, but you have to think, Okay, should I go this way. Yes, that's fine. Now I will cover these line with this Winship, okay? I mean, there has to be some logics behind what you do. There's many ways to do things. What tried to make sense. Okay, so now we have this and it looks quite okay. Whatever. I don't like I can just week later, like for somebody under very convinced about this side. But I don't care now, not too much, OK, The most important thing here now is just to make it look in their self. Like, for example, when you're working in the story, you have to, you know, do all these very smooth. You cannot be, you know, shaky because that will make for a big difference. So I stress again that you have to control very well their mental, its definition off. In fact, the drawing now we have or outline and we are ready to mosque. So I take my car and I put it inside a car. There we go. We hurts. In the next lesson, we're going to add a background that works with or re friends. So it looks isolated and he looks much more like a model 3. Choosing & Preparing References Part 2: This isn't we're going to be placed in the car in a context that suits the lighting and shadow. We are going to create an ambient free the background floor, so it's looking consistent. But the first thing I want to do is far self creating someplace folders for the wheels and maybe for the lower part of the car retaliating brewing here because all that I did is the body of the car. So we're going to copy the car. Let's just make this one invisible. And now let's just take the image like from here. It's got it, Let's paste it and we have enough. And what we want to be doing now is just with their ellipse stool. We're going to create a placeholder. Let's just make some transparency. Lets you mean so we see much better. Ellis calculates the size for it. You only need to do one because the other one is going to be the wheel is going to be duplicated. I think that words usually the wheels are not completely rounded, so I'm gonna push down a bit here. Okay. Maybe a bit bigger. Yeah, that would be it. But we have a placeholder for the wheels. One Here. Now, copy this one. I press shift and I move it to the rights. Now, I want the position. These more center. Obviously, this car is not totally horizontal. I will just fix that if I need to. Off the variance. And again, we're going to name layers. I'm gonna call these one back. Well, and I'm gonna call it these other one. Front you. Now, what we need to do is mask in each of the original wheels from this picture into these circles. So I'm going to mask his one inside this one. I'm gonna make a copy, and I'm gonna musket on the other one, okay? And now we have three masks, one for the main body mournfully from will one for the back wheel. We're going to turn the A paucity back up to 100. Thanks. So, like, so? No, it's see here it was 50 benefits. Now we collapse. This and now we need to do is creating the back side of the car All these that is going to be black in the bottom side, which is the same piece. I'm going to make another copy and gonna pass it to the top, collapse these again, and I'm gonna trace these bucked so exactly as we did before we start in the back wheel somewhere that won't be seen later on. We're going to go like this is not a straight line. This is just, you know, a little bit carved. Now we keep going like this. I don't really see where there's a shadow from the street or where is the car, but this we work. I mean, you just have to use a bit of intuition and common sense thinking. Okay, this should be where the car lying school. I'm doing this like this because this will be on the back of bids. Now, I need to place a bit off this nowhere. Parks as black to something like this. I mean, I repeat, if I don't like, it's I can always tweak it later. Ellis, we have this. We have to name it's we're gonna call it Villa bottom car. So this one goes to the bottom side, and now we can get rid off this, and now we're obviously we need to give it a color. We're gonna grab it with the color picker. So and now we're gonna put it on the bottom layer, like so we can get rid off the image. And as you can see, we have one mosque for the wheels, one mosque for their body of the car and these area here that I think I'm gonna make a little bit more like curvy. And it would look better. Something like this And we can start with the background. Although we need to do is creating something that makes sense with their elimination off this car. So, as you can see, the light is coming from the top right area. Okay, Also it response through the car to the front, but the main source is coming from the top, right? This area is gonna be more in the dark, so I'm going to create, um, background. That works with this first thing I'm going to out here. I got placeholder for what will be my shadow for the car. Nothing necessarily permanent, but more something that's gives me hints. Okay, so put it there. Something like this? Yep. Now you see, everything gets more in place. The guy has more of a weight. Now it's not flying owner. Now we're going to with a rectangle till we're going to put this McDonnell here. We're gonna pass it to the bottom. Now. Name your things. Name your layers. Car bottom shadow. No, look, it and this is that Back around. Okay, Now we need a great influence. I'm gonna assume out bits take the great into, and we're gonna change it to political Grady in, because if I use a linear is gonna be just like, man, it's more points off. Like to really look like it's a three d environment. So we're going to do is using the elliptical, which is gonna give me an additional handle. I'm gonna 40 years, As I said. Well, first off, I'm going to reverse this. So have lights here and dark in there. And obviously, now I need to tweak this in such a way that well, we can see things happening, So I'm gonna make these more or less these lights. Okay. Kind of like it's kind of like So, um, I think this could work. That was fast. Yeah, I'm gonna competitive to the other one. No, thought not, But maybe I need these to be dark hair. like in here? Check what they do here. Yeah, it has an angle down. So this is a little bit more dark. I think I may try it here, too. Let's see. Yeah, I think this young work, So we are ready to start Really joined. Now we have the reference ready. We have the background ready. We're gonna look it. And in the next lesson, we're going to stop with the phone, which is a stopped in with the car. 4. Blocking The Main Shapes: let's start working in the car itself. Let's start drawing, so the first thing we're going to do is just selecting. All the layers were going to Cmd C + Cmd V Copy it the whole thing. Now I'm gonna group the copy, and I'm going to make it a bit smaller. I can get rid of this for good. And I put this here because I like to have always a copy of my reference at sight so I'm going to name it rererence. small And here I'm going to get rid off this the color, not the shape itself. And we're going to stop working. The first thing we have to do and again, name your layers. I'm gonna call this e one main reference. Okay? And the copy I did. Main reference Small. So I know what I am. So I'm gonna lock this one. I'm gonna toggle it, and I gonna take this one which is my main reference. I'm gonna make aKcopy I'm gonna put it on top, and this is what I'm going to be using for my car. So I'm gonna call its main body so out of this main body I'm not interested in the image. What I'm interested in is in the in the outline. Okay, so for you to understand what I mean, I'm going to first off fill it up with a base color, which we would use to go lighter and darker in the shadows. OK, so we're gonna and take somewhere on these area here that would be our foundation color or base color. I'm gonna give it the color, and you don't see it. And you don't see it because we have this masked inside, so we're gonna get rid of it. And now you can see that we just applied this color here. So this reference, as I said before, I like to have it here just to have something to look at every now and then because there's gonna be covered most of the time. I'm gonna look it here. No, usually, when I'm working this, I like to give it Once I have this blocked, I like to give it either on a paucity off safe 500. Okay, if I want to start tracing these areas here, or I make it invisible, that's a really mother. This is after you however, you feel more comfortable. Okay, so next thing I'm going to be doing is tracing some off the inner lines off the car. So I stopped blocking the areas and knowing where everything has to be. Now I m soo mean, as I said, And I'm going to start tracing lines like, for example, the door and this area here for the main window. You do the same. And I see, you know, okay, So, roughly this would be the main shapes for the car. Of course, there's some missing books, roughly so the most important thing door and the windows are blocked. Let's go now to the next lesson where we're going to learn some off them important methods you have to follow in order to get things right and realistic for your car. 5. Start Detailing: We're going to talk now about something really important, which is what I said it before. The more you put in the does, the better things are gonna come. But you also have to think about what you're doing and how you can do it. So we're gonna take care now that we know And I see people when they're working this kind of pieces, even though you know the other one of the end is just quite nice is far from being realistic. For example, some people where they do, they have a stroke and they think, OK, I have a stroke here and I see through So how can I see through? Well, they would come here to feel they would just figure out what's behind here. Let's say for this example, something like this color and they feel it like so okay, off course, the stroke. They would put something that, like this and good to go. Then they would draw inside these other pieces here. And don't what? No, that's the way I would do it. So I'm gonna show you what I would do instead. So let's take this piece and it's take also these one. Both of them see them selected here, and let's just copy them. We have a copy here. Okay? No. What do we want to go? Well, we want to point to these one inside this one. How do we do that? I'll come to operations, and I said that. Let's go. Right now. The only thing I have to do is overlapping. Well, of course, getting rid of these overlapping it here. But no, Only that I'm only gonna get rid of these one out. And now I'm gonna take these one this shape, and I'm gonna move it here. Just making sure it is placed exactly what I want to know. I'm gonna place it below this one. Why did I keep this one? Well, of course I have to get rid off the field, right? Just put for example. And I kept these one here because now I'm just gonna, uh ree friends, get rid of these as you can see. No, only I have the window where I see through. I also have the frame. Okay. Just to position it correctly, I was making thicker, so you see better. So I have this friend corresponding to these and I see through, and that's the way I would do it. Now. Of course, I have to do the window. So pretty easy. Let's just take these. Let's just dub click ate it and let's get rid of a stroke. Let's fill it with a color that it's say something like this. Um and now I'm going to give it transparency because of May characteristic off the hiss hiss that it's transparent. So let's give it some 30 40. I see. For the time being, I'm gonna live it in 45%. You see here. Okay. Just for the time being, just have one thing in mind. You don't want to have the stroke in this shape. You want to have it stand alone. Okay, this would be there. Window stroke, okay. And that we know, um, window glass. So you wanna have them separates? Always. It's always better to happen. Separate, because then I can just apply whatever I want to this separately from the window, because for things like transparency, it doesn't really matter. You can have one transparency for the feeling of a shape and a different one for its stroke . But for some of effects. It won't be working like this. So just to make sure you won't have problems in the future, I like to have my stroke and feeling separately. What is more than that now? For the time being, As I said, I'm gonna leave it at 45. I'll see if I tweaked up later. But this is a technique. Okay? Now for you to see how it comes out, I'm going to work this basis inside the window and you see how it looks. Audience. So I'm gonna take these. I'm gonna duplicate it. I'm gonna put it somewhere here. Now I'm going to start taking it somehow. Probably making it smaller in works. No, I wanna touch these a bill and touch these one of beats. So, you know, only I said time because I don't have to trace it again. It also gives it a much more consistent in those. Really? Look, because the other in would be exactly the same as I wanna top. And now what I want to do is just going around to fill it up. So I need a shape and I need to put a feeling here. So what? I'm going to do here is open in this action and break Corfe. Now I select this. Pull it up crap is one. Get rid of it and pull it back down. And now with a pencil gonna go just like this? Like this? Like this? Like this. Like thes and like this. Not sure if I close it now. I think, Yeah. Now I close it and I'm going to fill it up with this color here, Bun and, of course, Iraqi Off your layers, I could It and I come below the main body, which would be year. So it's place now. We have this year on top. Now, obviously, this is not the right color. I'm gonna just make some initial coloring just to have an idea. If I don't like it, I would tweak it later. That's the beauty of vectors. No problem. Which Indian things later on. Okay, so we have the window that goes on top. Looks much more like it should be the color now with their we don't up and I'm gonna call her the main reverence with some Carlos. Oh, export it easier. I'm gonna switch it off just to take a look to what I've done. It's working. It's working. It's really working off course. I need to get really off the stroke. The country near. I don't need it anymore. Nice. Um, this has to be much that get. Anyways, I'm just gonna make it. Duckett. Now, uh, I don't feel like this, and I will check later, if that's the final color I want. So now what is that for? The window inside of the window is gonna be just making these shapes here. All the insides. Just zoom in and off course, switching on this layer and trace those shapes. And when we're done without, we will go for details like this. I'm gonna tell you how I do it and what to do and what not to do. 6. The Importance of Hierarchies: now, as you can see now, I have all the inside completed here and nothing, especially body that just raced these shapes gave them the same color to the ones you saw me tracing before we have that in place. Now, now, another important thing. You might be wondering why the moment I did this punch in here from the main body of the car to create a window, you could just wonder, Why didn't she Just also did they wish you were a good question because I didn't think about it, But a graph? The thing is, now this comes handy to talk about your arteries. So I'm gonna show you how this works because that's the whole point in placing your layers in the right place and name in the Anchorage. I'm not asking you to name everyone of NC here. It's a scarf, Parker. But they belong to our group that it's called inner Oh, boy, in a boy in her body, I mean inner body lands, and I'm gonna change it body. So what I'm saying is you don't need to name them all, but you at least name the group they belong to because he will be much easier. I'm gonna show you what I'm now. So we are going to pick them struck for the windchill. We're going to take the main body of the car and we are going to subtract it in order to punch it. Now, if you take a look again, I'm gonna repeat it. You're gonna see the lines for the door disappearance. Yeah, well, that's only because these layer came up together with this one. Okay, now they're just one shake. If I pressing olives, it won't happen because it's a component shape. Well, let's pretend I don't know this and I come here or I want less of a mess. Call whatever. And I come here and fine So they disappear. Well, it's not that they disappear, is just The case became just one shape together with the windshield. And now I meet under somebody goes. If I say OK, this is the main body you may go down below. No, it doesn't. Because you have this one here that is showing now, but that that gives me a hint. I'm gonna put it just, um and now I have it OK, so important to establish a good Hiroki off layers, naming them etcetera 7. Details Part 2 - Treat Yourself: So in this lesson, we're gonna keep on with the details. And I'm also going to speak about something I like to do because I'm a very person person. And, you know, I need some motivation and on the way. And if you're like me, you're gonna preceded a lot. I call it coming from my eyes and well, let's see it. We're now going to keep working with some off the details for the car already have this in place. It's punched, and we have I'm gonna show you we have a bunched. So I would like now to go with some nice details to give me some motivation. And this is another thing I usually do instead of just going. I mean, of course, that's there. What? You have to work from the bottom layers to the details. But sometimes along the way, I like to give myself some treats because when I start seeing, you know, bling bling, the shiny stuff, I get motivated because things start looking more realistic. So I recommend you do that, too, and start giving yourself some treats, visual treats and, for example, I'm going toe create this shiny part for they win should I may also be creating thes what year? And then I would get going with some off the more tedious work. But along the way, I like to give myself these kind of tricks. So as I was saying, I'm going to trace this shiny part of the wishes because it will make it start looking very nice. So there you go. Uh, go like these. Put it up. I'm gonna give it a cooler based color. Of course, Now I come here to opacity and I play grenades and I give it a little bit of noise because it has a little bit off noise and importance not to make it look too, you know, unrealistic. I'm gonna give it a little bit off a course in blue, but very, very, very little. This is very important to stress Sudoku Ma Wan said, Oh, come on. Two of the very maximum no more And it is not finished yet. You see here unassuming even more. You see here we have thes line like a shadow. I'm gonna do that too, because the more you do, the better We will look good. So I'm gonna put it there and see how it works. I think it works. I think it works. Let me check here. Yeah, it does work. Maybe I need to apply. Yeah, a beautiful transparency. Less even more, like, so very supple for the time. And I think I like it, so I'm gonna leave it there. So we have that reflection of really done and you see how detailed I like it to be for it to be there. Now, the second treat, I'm gonna give my eyes. Is this area here? So I'm gonna switch off these for the time being. No, there's one. And I'm gonna go because it's very regular. I'm gonna go tracing with a pencil. Probably until here. And then I would ease our area here. Not only one chunk for versatility reasons, so I have more control over to pieces on one. So I'm gonna go like this. See, I don't have to put much care because it's quite easy to I understand that now I'm gonna give it this color I'm gonna duplicated have two of them. I'm gonna take the one below Gunter Effects similar. Gonna give it a little bit off a radios. 3.6 I put, I'll go tweaking it as I need. I'm gonna switch this on again to see what's going on. And again with this. They want on top. I'm gonna also give it a bit off. Go similar now. Very important here. Now, just use the right amount. I'm gonna put it out so you see better or I'm doing so the right amount off course and lower. It's just something critical here, because if you do it wrong, they're gonna look really stick. So it's just pretty there. All these one, it is there. Let's just group them. That's calling. Um, Door shine. Oh, I got this is door. Please hurry. Fix this Goes on the tush store Shine if you write too fast, this happens all the time. And trust me, Price As I was saying, it has to be very well calibrated otherwise is not gonna look really stick. And you don't want that. So there is a guy up here between the stroke and the shiny door part. So you want to do it like that? Always lead business to go below the lions. So what I'm going to do is I'm gonna take their highlight, and I'm gonna put it below them. No, that if I want to just go tweaking its ago. The most important thing is that it looks like what I have in there. I probably also need to reduce the beats. The goes in lower. I lived there, the values iPod so you don't have to zoom in. I'm not gonna give you all of the details. I mean, you just do your thing, And if you want to check what I eat puts, you can do so too. And I think it works pretty well that's living there. If I now also take it off this area and these area, it will give it a boost off realism this year. This this year this I'm gonna give It's the right color, and I'm gonna apply a bit off noise and I'm gonna name my shape. And now and this is another important thing. That is, if you look close, there is, like this area that it's even more highlighted. So we're going to do is just take my and no. And, uh, I'm gonna do this and I'm gonna make it really on the blue side. I'm gonna make it really, really, really white. And I'm gonna give it a bit of a girls and blue in there. See how it really works. If we take a look from a distance now, you can see here and here There's this both stuff, you know, illuminated area, which we'll make for a much better final look, if you remember in the lesson before we created this compound shape with the windshield and the main body of the car, Well, that's not very interesting here, because now, if I want to, I'm gonna make this ridiculous color. So it's clearly visible if I want now to mask these inside that compound shape is not going to be working, See, goes behind. And, you know, you see nothing. So it's not interesting to have this compound shaping here. I'm gonna take thes two guys. I'm gonna pull them up, gonna get rid of that compound layer there. And what I want to do now is I'm gonna cut them. I'm gonna pace them. So there, totally on top and I can see what I'm doing. I'm gonna subtract there good all way, and I'm gonna pull it down where it waas, which waas below with a blast. Now, take this. I'm gonna musket inside Now it's masked as it should be. Okay, so just know that in a compound shape you're gonna get some advantages. But also be aware that some things are gonna be constrained to To what? With Justin. So I am gonna take these First off, I'm gonna remake the cooler because this was just for the purpose of showing you I'm gonna give it a little bit of a noise. I'm gonna put it there and again, I'm gonna take it here. Gonna come toe my main buddy. I'm gonna make it visible and I'm gonna nested in sight Now it's masked as it should be. So we herds now off course. And again, one of my tricks is just always the use of Yudof goes and lower, like so. So it looks more natural. I mean, there's nothing us sharp in this kind. Off joins. There's always just a little bit of gotten Lord Well, this weekend, I mean, I don't want to spend my life in here. I just want to, you know, go more straight to the point. But those things are important. So the next one is going to be this one. I'm going to create this shadow here, and when I'm done, we will go to next lesson. 8. Details Part 3: Let's go now with more details for a car. Now I'm gonna take the main difference. I'm gonna make it physical, and I'm gonna copy it. I'm gonna put it on top, and what I'm going to be doing now is using the crop tool. I'm going to crop. It's like so and I'm going to move it somewhere. For example, Here, it could be also on top. Doesn't really matter. I'm gonna assume in, and I'm gonna be working on the frame and the window itself. So So it's always a good idea to have a crop off your image at sites as you go work in. Okay, so I'm gonna work on that. The other thing is going to be tracing just the line at that. So the best idea would be taking these one copying. It's gonna put it on top like so. And I'm going to open here. Let's see. Get rid of it. And now I'm going to I'm going to make this a little bit bigger because I could it way too much. I want to see the end of these. Okay. So perfect. I think like this will work. So now what? I need to do is a great here. Gonna make it slightly smaller in words like so, um, President, holding command and shift. You have these, like this. That's good. Now I'm gonna go beat now, and I'm gonna put it there, and I take this caller from here. We that's brought my best bet now would be maybe adding, and in a glow, let's just take a look. Has way too much that's going to put down the opacity. Something like this. Mm. Okay. I think for the time being younger leaving us east because it doesn't work, but just in small takings. Escorts off course. This cannot be like that. I'm gonna move it. And now I need thes to be thicker. So he's one in here. It's to be a bit thicker. I duplicate Make it figure, like so moving downwards. And now? Yeah, Now I see better. I want to apply avid off drugs. Barnes in here like this Check. Maybe that's too much. Mm. Yeah, something like this. And I'm going to get closer here, going to try to reproduce these area here with the bento. I'm gonna go like he's gonna make it. Why? Dish and speaker. And again, I'm gonna move it up, Gonna breed there. And basically, now what I have to do is to get a bit so it looks more less than, like the one in our reverence. So go ahead and do so. Okay, so now that we have these alien here very similar, probably. I will be tweaking a bit. This I'm gonna give it on a positive color off. Let's say 70. It looks more like it is in reality. Yeah, I think that works pretty well. So rain window reflections like that. Now, I'm gonna keep on working in some off the details that's are important. For example, the's area here, I'm gonna show you how to make this window look like it should. I'm gonna get read off the reference, you know, just not working in that area. So I'm gonna copy in the window. So it's in here. Now I'm going to duplicate it, and I'm gonna move there one on top, slightly to the left, and I'm gonna position it somewhere like here, more or less like these upper more or less like this. So I have this area and guess what? I'm going to, You know, I'm going to take both of them, and I'm going to subtract with this more or less than half that shaping that it's below. Okay, now I'm gonna give it cooler. It's never that I really used the colors. I think with the I gotta pick up men. As you can see, I'm gonna make it darker. It's just for Are you sure? Reference. Now, I'm going to make this a little bit about aware at this. And, as you can see now in its just slightly a bit of chicken, Well, we have it. And that was fast. Now let's grab our beautiful glass. Let's start changing the color for it. Let's play a little bit with the radiance. I think so. Because I wanted to be on the blue side. So let's take something like these Andi, for these one. So just for you to see that this is totally transparent. Unless you're so take these is make it an absurd caller can be that he was seen. Now we're behind, See, I'm a bowl and I'm behind the car. So that's what we want. Okay, now I'm gonna keep working with some All the details. Now there's this thing. You may think that you could use something like a stroke in here, which is what I see many people doing. Okay, Lets just speak about that. That's another one of the important things I never do. I mean, I would never do something like this. This is rough. Even if you play son effects for the strong, like transparency, whatever, it's not the way I would do it. So I tried to tell always my students not to use stops or to limit the amount of strokes to use for this kind of pieces. What I'm going to do is I'm gonna get rid of it. And I have several possibilities for this area here that is a little bit darker. I can perfectly calm defects and say in our show while shadow, because the shadow house an angle, and I'm gonna be able to put it just in this area, whereas thes and that I'm gonna get that shadow. Okay, so that's why I'm using an inner shadow, you know, an inner glow. So let's go for it. Just give it a shadow there like this, a little bit less off the radios there I was too much and a little bit more of opacity. So it works. I think I made it a little bit to cover here, and that's not it. That's perfect. And now we're going to lose quite, you see, with the mental. I'm gonna trace thes line here and and I'm gonna put it up there, so I have it there. Let's put a little bit off nice here, too. We will give it more off the texture seeming after the one we see in our samba. And again, I mean back to the cooler with radiant tour. We need a bit of a show in the boat on area. Okay, And there's one can be a little bit later. So this just right with this and see what works may be a little bit too much, but just go tweak until you have what you need. Now we take this piece here that we grouped, which is here. It's colleague side peace. We know and you name them again. I say, as you want. I just do it like this because it works for me. I understand myself. So I'm working for myself. I don't need to just be overly clear. Just something that works for me. Okay, when I'm working with more people obviously trudges to make things that everybody can understand now. In weekend to the window, we come to the window and we grab it and place it in the layer that corresponds. This is below there, windows plus, but I clearly need to make a chance again in this color here. That's why I always say there's never really a color that I said a leaf always make changes . So I'm gonna now make some chickens both to the colors and also to the shapes that I just created just to make it look more realistic, much more secure, and we'll be done with his lesson for now will keep on going with more detailing. 9. Details Part 4: so again, using this reference that I cropped with the crop tool gonna be using it now, I have my reference here on top. I put it there. I'm gonna be now. Making it would be bigger so I can see this area here. I'm going to be working on this idea here. Okay, I'm gonna look it There. You look color, so I spot. It's easy, really. But now, just remember to group your things. For example, these. I'm switching on enough now. It's in the window here, assuming a bit bits. See, they're just go naming your things and the Iraqi please be aware that it's very important. Just don't mess it. Okay, so let's go for these area here. I'm gonna sumo beads, and we're gonna proceed the same way we did with these shiny part in here. He's one in here. We're going to be starting here in this area, so I'm gonna go like this. Probably don't even I need to worry too much about where I put things because it will be masked. So it's just Gorecki's go like this on like this. And like this Now, I'm gonna put these up. I'm gonna put this up. I'm gonna trick here of its I'm gonna give it a white cooler, Gonna get rid of the stroke. I'm gonna place it in its place. So I'm going to command X. I'm gonna click on their body. I'm gonna don't struggle. I'm gonna put it there. Let's see if this is the final destination for this piece. So for the time you and it goes like there more or less gonna give it a bit off a course and blower a little bit less. Yeah. Now I need to give it a bit of a greater, like in here. Let's see if I live it in one piece, are used to pieces these things. I go deciding us work and because I'm working in real time and I never, never did this place before. I'm experimenting on this is the way I work. It is because there's no one piece that is certainly the same as the other. There's just some methods that you're gonna be using, though, Okay, so clearly this needs to be must inside the main body, which is here. So let's grab its and let's put it there with the rest, like so not to God's. Not too bad, but I think I was betting optimistic. Making this in just one chunk. I'm not sure I'm gonna make a copy of it. Believe it there on top. Because maybe this or maybe works. Um, let me check. So I'm gonna give it a Grady int goes Also first here, something like this, By the way, this I want to make it a little bit more rounded. All right, so now I'm going to take this other piece. I'm going to put it right on top of the other one. I'm going to make these around it need, particularly with hand first. No, something like this off course. Need to give it more off a caution blue. Something like this, but just just I go comparing what I see here. What is he there? Okay. And go and try to reproduce it as much as I can if I need to court because this is not going siding with what I get in here. I just caught it and put another piece on top layering Lehtinen laying, which I think is gonna be the case now because this is way too blurry to what I seen here and cannot be because he will make it look. But so I take it up, I take the zone. So I'm gonna cook in these area here, so that might be somewhere, like around it. Mm. Around here, more or less. Let's just try. I said dropped. The cartoon is obviously younger. Making whites gonna put it there. I could. It's just to bring it down here somewhere there. Let's just check what it It should be somewhere here. These this is check. Okay. I don't think it looks bad. I just think it's slightly tweak off the younger I'm gonna give it just a little, little, really little bit off course. You know, something like 0.17 point two of the very maximum one. I'm gonna living one for the timing. And now what I want to do with this one, the one below the one the house, then go simply replied. I mean, I don't really see that much of a blue in there, so I'm gonna put this a bit down. So this one is the one that is really bean seen in the area. Not bad, but I think he's more. I think this could work. It's not but Scana. Good. Now I need to for sure. Making it a little bit transparent will help. First off. So, like your bees, take the transparency tool and put it where you need to who are painting with shapes. Basically, that's what I'm doing. You may look complex, but after some wild you'll see it and you'll do exactly the same if you want to. Off course. Okay, so there we go. I'm going to keep on going with all the pieces you see in here the's line, these white arc present you seen there? Some off the shiny part in here. All that I see you, I'm going to reproduce now. So But I ask you to do exactly the same. And if you have any doubts along your way, just leave your comments and your questions, because I'm here to help. Okay, so let's go for it. Okay, So, as you can see now, I send out a little bit just to compare from a distance which will make me see much better . But after all, these new area here is down and some think it's anything to do with the window because I work in. Sometimes I move their layers or whatever. You can see that now. If we take a look at it, it starts looking pretty realistic, and that's where you want to be. 10. The Door Handle: So now we're gonna take care off the handle in them in the car. So what I've done is preparing my layers in such a way that I have my crop here reduced to just 200. And I see the reference below are so mean very, very close. And I start working. So I take my pen tool and I analyze a bit what I'm seeing. And I'm going to start with these The 100 itself gonna start there? I'm gonna creek on shift. Uh, I'm gonna trace this shape. And so I come until here, I'd say that's fine. Yep. Now I want to give it a color. A lady in color, something like these. Now I'm covered in it. But I have this so I can just pick my color if I need to. From there, That's a these area there. And these one goes in a lighter color. So he's one on something like this could work. Um, let's give it a bit off noise, something like this. Let's make now there look for the key. So this is the right color for it. I'm gonna give it. Have you have nice to Now I'm going to duplicate it, come to layers and the one below I'm gonna move it down and to the right one picks a and I'm gonna make it darker. Now I like the color, so I make it a bit bigger and I just give it a bit of an offsets, something like, All right, this I think it can work. Now. I need to put here this lot for the key. I'm gonna give it this and yeah, he's Yeah, I think it can work pretty well. Like thes Good. Now, next thing I'm going to be doing, it's duplicating this one, too. I'm gonna make the one below a bit bigger our words like so and like so And I'm gonna give it a great color like this. Now I'm gonna give it a go Shin blower. Something like this. The color is not the right one, but I will take it now. Now what I want is for it to be seen as if it was a stroke. What is not really stroke? Because we obviously don't use many strokes, you know, pieces. So this would be the call or less of a golden work. Better. Something like these and I don't need this area there. So what am I gonna go? Hunger. Could it? So come back here. Take these one and dress. That's it. I'm something like this. That's fine. That's fine. I'm gonna just make this. You get softer, softer, whole thing. I think this can work. Okay, so now another thing that I want to do is tracing the outline. Something like these. Like these. Now I'm going to complicate it. Take the one below, make it. Whites make it thicker. And I have my other lines here, in there in my inner light. There. Okay, now we need to trace these bits in there. Just gonna trace it with a pen tool. Like so. Like so like, so something like these gonna fill it up, get rid of the stroke. Now, let's give it an inner glow. There is no white. Obviously has to be somewhere along these lines here, man. If you don't see very well, just make sure this is in normal and not in a screen. Oh, let's give it a bit off noise. You, like So now duplicated flip ids and make these one white is a bit, but big. I was just making whites. Let's get read off. That gonna go for these one yolk. So we have these. Still, we're going to pass them here. And for sure they have to be below place. Angara, grab these thesis and these. I'm gonna cut it and paste it, and I'm gonna group them. But our name, these condos door hundreds. And the last thing we need is to keep a background color for this area here, which we didn't do. Jet. So I copy again, one of these pieces. I get rid off the stroke and I give it a field color somewhere here, like it's cooler here, put it below and I'm going to give it off course a bit off Noize, you guessed right now this car. I said he was not right, and it's not. So let's just change it to something like this. We could give it a great into Well, let's keep it in, Grady, in just to make it perfect over there. So we grabbed these and we're gonna say Peace area here. We want a dark that give Let's just grab this not Let's not be shy. Something like there and this one is that also, lights. We're gonna give it this color here. That's good. Let's reverse it. And, well, we don't have hundreds for the stroke, but I think it works pretty well. I need to make these around here and the same for these. All of it. And also these idea here. Yeah. What? I think that looks pretty old goods on. This needs to be up to there, and it's to be whiter on that area. Gonna just make some tricks here. 11. The Wheels: in this lesson. We're going to draw the wheels where, as you can see, it's two wheels and we just need to draw one because we're going to duplicated import the other one in the back. We just tweak some stuff so they don't look too similar, like, way too much. And anyways, we're going to start, and I'm gonna put this year, and I'm gonna take their lips tool, and I'm gonna make my wheel. Now, I put it until a bit bigger. Just remember what I said before up. Well, when I put this on top, I like to give it a transparency. Just check if it's more or less the size and what I said before, no wheel is completely rounded. So I'm gonna make it a little bit flat on their top and bottom now at like, shift. And I put it on the side so it's aligned with this one. Okay, okay. The way I work wheels Well, it's quite a c. Just look at this. It's a circle. We're gonna give it a base color to remember. We have some transparency here, so the first thing is going to be given its the base school or something, right? He's one gonna make it 100% opacity. It has some noise, which is okay, This is going to be the base cooler. Now, I need to start making measures. So this would be the distance between the tire and the rings, so I'm going to replicate the circle Command C Command V. Now I'm going to make it smaller inwards around these. A DEA here. I mean, I could just come here and say, Is this the right sighs What has to be more or less how it is? I don't need it. It's a click track. Exactly the same. So I'm gonna give it also a base color to these Diskin, hear something like this? Goods? No. Next step. You see, here we have this grayish color and all around the tire, we have no around. But in the top side, we have this kind of like a shadow. Well, it's only from the top and not on the bottom. So we're gonna use an effect which is going to be an outer on inner shadow. Sorry. Inner shadow, which is here now. Radios offset. So I start seeing it again. What is moulded by. I would like to make sure it's normal, so I make sure gonna really see it now. I can appreciate it. I'm gonna make the radios smaller. Something like this. And yeah. And a bit of capacity. Yeah, something like this. No, next step. So you see here we have kind of like a shiny outline. I mean, if I sue mean, you're gonna see better. I mean, you see this glass and here, okay. Goes all over the top area for the wheel until more or less half. So what I'm going to do is exactly that. I mean, even if it waas going all around the the disc for the alloy, I wouldn't make a stroke. I never makes trucks for these things. Why would I do? Well, some people may think Okay, you can make a nooner shadow and just make it wide. And that would be good to go. Yes, it was, but I prefer I duplicate this seat. Now, have these 21 on top of the other. I'm gonna move the one on top slightly down. Something like this. I'm gonna grab the to off them and I'm going to subtract now. I need it. Lighter color gonna put it there, and I'm gonna give it. Ah, beat off course in blue zero coma syrup onto and some 50% capacity is something like this these mics for total control off my shadows and blows and whatever I want to do. And I like this method a lot. I think it gives for a very good result. Now, I'm looking at these, and I see this is darker than this. So even though at the beginning, I put a solid color, I'm gonna have to put ingredients. So we're gonna take this. We're gonna wrap this color here, double Greek, and this one like it to be lighter. So these corresponds to days, so I'm gonna make it. What? I'm gonna grab it there. Um, it's a little bit blue. Yes, Normal. That's normal. Maybe too much. So let's put it somewhere there. Very good. Now I keep working and I see I have another circle here, so let's count one to and three. But this one goes all around. I mean, it's not only this outline is the whole thing, so I'm gonna drop another one and a copy I faced and I reduce it like So Now I needed to be really dark. So let's just scrap this color here. Good. See? I mean, we didn't just nothing but circles, and it starts looking. Yeah, I think it starts looking very well. Okay, Now I'm gonna give you some few seconds. Just think. What is that I would do next? Well, well, okay. So I'm not sure you haven't bought if I have this one which corresponds to all these black area here. Now I see another one in here. You see that? Yeah. So we go to death. And again, copy based. We put it in and not what we see here is like a crescent. So I have this year gonna come to effects. I am going to give it an out there blow. That's obviously not the color. So let's scrap something like this. No, I mean, I'm working us. I go, I have no clue. So I'm just guessing I see a crescent here, so I think the best is to make a crescent. So let's just take this. Let's take this. Let's just move it. I'm overlapping. One in two circles, These two circles, I'm going to subject. And then I put it here, going to give it a bit off a Gaussian blur here also. And now, because I see okay, so, no, because I see it goes fading away. I'm gonna give it a bit off tone spottings something like, it's no like this. What is not completely accurate? Because if I take a look, I'm missing this part, so I'm going to repeat the same thing I'm gonna take. I'm moving, like So I was dropped, and I'm gonna put it. Thanks. So there, change the color too. This one. I'm going to copy attributes like the best attributes Common Shift V. And now we have the say you here, more or less suggests that, um probably the transparency is way too much. It's just leaving us this for the time being. Now I need to make thes all the one I'm going to make new circle. Give it a transparency, transparency to see through. Put it their shift. So I'm gonna take these one here. I'm gonna give it some noise because it needs it. It's metallic. This. Now I see you have very many concentric circles. So what? I'm going to be doing next. I'm gonna duplicate this. I'm gonna put it in words like, so I'm gonna give it, um a super lights. Um, stroke. It's just like thes. Let's get rid off them, Phil. So now we're going to do is come and see common J for a smart copy pulling it in words like so And now I keep clicking comin, g Come on. G did that. So we have that more or less. I mean, for this is fine. To use this kind off stroke, I'm going to be the winner's group in it. And probably I want to apply a bit off transparency know too much, but just the bits, okay, for the time being born a living like this. Now take care off this. Stop gonna smile to see how it looks not, but I think it could work perfectly. I mean, as you can see, I'm just making believe on reproducing everything I see in this case. So basically create a balance between all the details. You see as many as possible, the more, the better. And then how you reproduce them, even though they don't have to be 100% exactly the same that be crazy. Try to do them as faithful as you see them and try even if you're not getting exactly the same shape, Same piece, the same effects. At least try to make them work within the whole piece. That's the most important thing, and he will work. So I'm gonna come here and I'm gonna take the star tool. I'm gonna make thes softer. I'm going to movie like so Probably want to Police make it a bit. Why there? I think this cool work out of all the shapes. I'm just trying. If it doesn't work, I just go and change it. Um What? I'm gonna put it on top of this one just to see what I'm doing. Oh, well, it's not exactly the same, but I think it could work for the purpose off. She's making it look like a car. Like a dream. Yeah, I know what I will do, because this is ah sharp. And I know what I will do later just to make it look a little bit more like it s in reality . I'm gonna pull this You just way too much, I think. Yeah, I think this is gonna work like this. Just think that I am here working on the fly, taking all the tools I have at hand. Now I have this. I'm going to competitive course, and I'm going to take their corner tool. Good a click on it. And no, I'm gonna do these. Oh, yeah, that's I love when this happens. Like just things come out and I have no clue how I was going to do it both. You think of it, and I love it. I love it. I love it because he's like, everything comes together magically somehow. So that's it. Now we're gonna fillets what is going to be my base core Or probably something like this, for starters. Oh, yeah, that's it. Gonna get rid off the stroke. We're here now. I have to start painting the rest. Okay, so now that we have these, I need to make all these ideas here shiny and shadow. Mm. I'm gonna the big A This I am going to probably I'm gonna try to subtract this. I'm gonna just get rid off these ones. I don't need them gonna take thes one. I'm just trying to see if I can just make it this way. Just let me try. I'm gonna musket inside, like so I'm gonna use a bit off Gaussian Blur, like so and probably yeah. I mean, this is a corruption. I just need to be tweaking now, whatever. It's to be tricked like, I think this can work pretty well, huh? Yeah. So we have this. I'm gonna make the rest now with the same methods. Now, we have these other shaping here, and I mean every trying beats because my first idea would be just okay, I have to start here. It's five point. So probably I can take their primitive shape for this. The same I have. Like, it was the start. Still, it was the start tool and try to rebuild it. But, um, I messed around with it, and I decided that it was not a good idea. And this is something I was. So I think my primitives, which are this was here. All of these shapes and I started just trying to modify them. So after a while, I realized that this is a Penta one. So I took the polygon tool, which is a pentagon, and I well, that is. And now I'm going to start the tickets like these. Now I combat the course. I grab them corn, it'll and I can modify it. Let's just make mm. Something like this is pretty That so They are all the same. A lot of them. And I think it works much better than any other shape. I mean, my other option would be doing it by home, but I mean, having these things, why would I do so? This is just it's pretty accurate on. Yeah. I mean, I have no clue have this option until I just came here and started messing around with or the shapes. And I decided this was the best one. Like I decided there started was the best one for this Kind of like stop. So we're gonna move it fun. We have it there now. We're gonna give it a different corner for the radiance. So we came here and he's one. Is this one and these other one, it's going to be like this. It's giving a bit off noises use, and more or less we have. That's should be placed. Well, okay, so we have these in here just have in mind. That's I mean, even if it's not completely perfect, this will be seen from a distance. So it would work? No. What do we want? I can see some shiny dreams era. I'm gonna go and do that. I'm gonna take this shadow on gonna cope, eats I'm gonna cut it. I'm gonna based it on top. So we see what we're doing. I have this now. I complicated. I move it, se. Yeah, I think one big Seles. Enough have both of them. I select them, and I'm going to see a plot. Now I'm gonna change the color to something Very why? It's and I'm gonna put it here. You can see we have no, just the tweaker bits or shape in a way that works for us. You can just go like this and manage Do like that. I'm gonna musket inside the shape. And what we have in here now is thes wild. A DEA. I think they go somewhere Here is way too much. So I'm gonna reduce it to something like this. And we have one off our, um, areas here later. Aliens here. Done. Now I'm going to create the rest of the start just that you've seen. Basically, it's about using some billions for these areas here now, using some permitted shapes to make these areas here and using more billions for the dark areas. Or you can also to scrap your pen tool and say, OK, this is what I have. This is good enough. I mean up to you to decide if you prefer to do it with corrupting Bolin's attracting billions or if you prefer to do it like I'm doing it now like this. Just put some ghosts and Blower just came to light come to layers and musket inside, which is the other way. You can work this area here, so let's just finish this star with these methods. And let's keep working the details for the wheel in the next listen. 12. The Wheels Part 2: So I have now just created the circle with a Gaussian blur off zero 13 And these are the one outset appoint to goes in Blower and an inner glow off 3.9. Gonna put it here like so Also have a grading for these, um feeling, which is he's Grady in here. More similar thing. I could just make for these one, and you're gonna see anything from from close. You're gonna really see how much it looks like it is if I go far and now you take a look at it, it is here even closer. You see how well it works to just put it there and be one of these holes. So I'm gonna copy its and put I'm here like so and yeah, I mean, as I always say, you are painting with factors you need to give the shiny parts some shiny look, you need to give the shadows some glows or some shadows inner outer dependent awarded it. Basically, we are painting with factors, so the more accurate it is, I repeated the better for that final look. I'm gonna be now completing this stuff for the alloy with all the brightness and Shah rose and stuff. Basically, what I'm going to be doing is using these methods and I ask you to do the same. So we complete this part and we will be almost done with their with the will. I am not going to keep on working our time lapse a beat, some off the parts I will make some commence on the most important things. That's a goal on my way. You can just slow it down. You can just fast forward it. Just a kid, you see, ask any does you have Enjoy what you're working and see you when we're done with this bits . I started taking a little bit the original start shape just enough for it to be accurate to what I need. I also decided that the best way to do the shadows and the highlights is just doing this shape and creating. Now I place it now in the right position like we've seen before. Always using a PP mosque. I now duplicate this shape. I moved the younger place it in the upper portion off the star so I don't have to trace it again. I obviously quickly will be the shape for Just tow this portion. And also I tweak a little bit of radiant just to coincide with their shallows and highlights I have in that area. - Okay , - I am now making us a truck operation from these shape so I can apply Ah, highlight in that area. That's a very good method just to make these shiny parts. Sometimes if I wanted to make it a little bit more bright, I may overlap to off them. Sometimes I just leave one. I also play a lot with their goes and bluer as we've seen before. So it gives for a painterly look toe my victors. Now you can see how play with these three shapes four shapes and applying the right amount off highlights shadows with Grady ins, etcetera. We already start to see some realism in this alloy in this will, and that's all about it. I stopped placing things in there, not really caring much about the position in. I will just treat the whole thing at the end. I just want to see another look of it. So I started just imagining how good or bad is going to end up in now. for a smooth transition between the two stars. This is the Pentagon in the center and the bigger one. I want to apply an outer glow. But instead of going to the facts panel, I prefer to craft is myself. So what I'm going to do, the method I'm going to use is going to be duplicating the Pentagon, and I'm gonna change the field to a white, and I'm gonna give you a bit off a Gaussian blur. With this, I will achieve another glow effect. But it will be crafted by me, which I always prefer, then using their ready made effects in the panel. Then, if I need to a stuck another outer glow, I made just to it very lightly with the other glow in the effects panel. Or I may just another shape. In this case. I use the effects panel, but I much prefer to combine both of them or, if anything, using a shape instead of using their effects panel, because it gives me for a much better control. As I said before, I'm not a fun off ready made effects, although they're very useful. I'm not saying the front, but I sometimes prefer and many times, most off the times prefer to graft things myself. Because I'm not so constrained to use the options we have in the panel. I can also change the shape of it, and I mean, it's much better. - I have now created thes dots that this disk inside the wheel house more or less something similar. And again I say, this is a make belief, so it will be seen to 100% and I won't be really, really visible. You just have to make the impression that it is what it is. So I've just done it with a stroke created out of thoughts. Now, after that, I just spread it apart in the disc, and then I go for these little details that is on the left side of this disk must be apart off the brakes or something like that, because even though they shape sometimes I'm not really accurate. It's really important to take care off every detail you see off light and shadow that will make it to look really, really realistic. Another thing is now I'm going to give the disc brakes disc the right color, the radiance going to adjust it. Now I am duplicating the outer star shape instead of using an outer shadow because, as you can see, I will have much more control. If I want to tweak a little bit, the shape just torn it in order to make the shadow below the star. I can do so because I'm using the shape. Is there off very made effect, - Some tweaking to some off the lights and shadows in the shapes that formed this well, basically, moving the glows and moving the service a little bit just to be accurate to what I see in the reference So you seen billions again and you seen some effects. I'm going to be tweaking a little bit, just that Justus much as possible to what I see. Okay, - now this part I really like, because if you can tell how much it changes when I create this shape, it's just highlight its overlapping layers off Latin shadows. And this is painting. Basically, it did with factors big with big maps bid with the pencils. So now you can see how it really changed, how it's so smooth and so getting so much there toe what it has to be just because I put this shape, I applied a little bit off, go simpler and now see how it boosts the overlooks for it. That's the secrets. Nothing else. Now here again and take that piece and I duplicated and I put it on this other spike for the star and look at the result. How realistic it looks. Even if you squint your eyes a little bit, you will even see it more realistic. It's just fantastic. It's it's It's what I really like about factors is just so nice. I'm now going to be creating the reflections and and shadows and lights for their tire. So again, bullying operations subtract as you can see, it will be done really fast with this method, and we don't need to use their effects panel so much. It's just an addition to our techniques. With this, I mean that some people will feel attempt to use the three D effect, for example, or the Bible and in Boston in the effects panel. But really, maybe this is some people think this is just an opinion or just a way like things I mean for me into my eyes when I look at our work, I can really tell when some effects have been applied, and that could have been much better. And this makes for whole difference. Just don't take the short way. Craft your things, use these methods and it will work perfectly. - So when the wheel is almost ready, I simply duplicated and put the other one on the back side of the car. I compare them. I'll, of course, moved younger off one of them, just so they don't look too similar. You can also make some weekends to one of the wheels so they don't look like they are exactly is in peace. So that's up to you also, probably at the end, I will highlights a little bit more. They chrome for the rings because really chrome makes for a good post off realism, lights and metallic materials. So probably will do that. But for the time in, I think we are good to go with the wheels. I am simply adding now a little piece that I forgot to create before it's part of their breaks. So now we are completing with our wheels. I tried to make these listen no too soporific so even though I didn't spirit up too much, it would have been too long if I leave it in the normal speed and I think it to stay, it's is still very clear to see what I'm doing. If not just a slow it down a little bit. But additionally, please ask me. I like toe tell people what I know. So I just asked me and just don't be shy and I hope you get this less unclear. And all the techniques we've been just in here and I want to see how you do it. Please do your product because I need to see how good it came out. See you in the next lesson. 13. Front Part 1: we are going to be working now on different lights off the car. So for that, I take the crop. The reference I make it visible. I'm gonna put it up now. Obviously, I have to resize it and go look for the area that we're going to be working on, Which would be this one here. I'm gonna move it here, going assuming. And now what I want to do is making these one visible and this one collapse, I'm gonna make it invisible. So we're gonna be working here with his reference. Always outside. Okay, so there we go. First thing going to trace these line here. Gonna make it dark and Sina 2.5 points. Now, I'm gonna do this area here. Remember that this would be masked so you can go past these boundaries here. I'm gonna put aside freakin shift. Gonna change the color so you can see. Okay, so now, um Radiance. Something like this, for starters. Now I'm gonna create these white shaping that I mean, you may think I'm not putting much loving it, but I tell you, I put it all that over that he needs I like to work in a way that I'm kind of blocking things. I'm just approaching the colors. I'm not really thinking much about it. I'm just blocking things. And then I go over them when I see them working together because I get a much better views in my guts. It has to be lighter. And this has to be that on the blue site. Something like this. I can change the old line to something more race. I am going to make this. Also, I'm gonna get rid off the stroke. This one needs to be masked also. Okay, so now I'm gonna move it here. Yeah. No, I'm gonna make the Zetia here. We've been to You could also, for example, be working with the pressure here, so I'm gonna move it. So if you have the stroke selected and you come here and you clicking here, as you can see, you gonna make this end in Ireland is like it is in here. You can collapse. I sometimes wait. Sometimes I don't, because at the end, I'm going to play a bit off a transparency. Yeah, I will be more accurate. It's probably so you could just go like these. OK, I'm gonna do the same for these one. I'm gonna just copy it. Copy attributes. You see her? That works pretty well. Now this one goes below, so I'm gonna courts and paste again. So this stroke is below thes area here. Now, I need to sit on my drawing because I need to see how it looks. So I'm going to switch it on, gonna make it these layers some color, like blue, for example. Now, on the sumo outs. Just check what I'm doing. Okay, now I see clearly that's these lines. Clearly need a bit of a go. Sembler here. 0.2. Also for the outline off. The men shape for their lights. Something like zero command wants to make it sit up from a one. It's always very supple. Now, I'm gonna make these idea here. That shadow we will help my eyes to recognize that what I'm doing is what I want something like this. This this. Now I'm going to give it a color. This joke. I'm gonna pass it up there, and I'm going to musket inside my main body of the car, which is here. Okay, there it is. a must. Little tweaks usually are needed. No, in this one, those on top important usually to put things on top. I just cook them and pays the madam go through the layers. Spanner. But then what happens is they go up so sometimes is okay, but something is not. I wanted to be here not up there. So just be careful. Just a local. I said I couldn't. I paste it. And then I come down here and place it wherever. And it's to be good. Let's just mode again because I will see better. It's not too bad. It's not perfect either. But he will. It would be you will be. I'm gonna keep working on these area. So the next thing I'm going to do is create in a shadow here which corresponds to these area here. So I'm just gonna go like, thes pretty loose, relaxed. Yeah. So it, of course, and blowers use who now I'm gonna give it a bit off a transparency, because if you look in here, this is darker than this idea here. So that's the way hasta be. I still have this color ready here, so I'm gonna live there for the time being. Think it's gonna work anyways. And when I put this inside and below all these or the shapes goods now I'm going to be creating also, they say, Yeah, I'm gonna I'm gonna make this'll be transparent like So Now I'm gonna be creating this area here. So basically, this is just the line goes like now, this is just the line Goes like thes and like this. Now I'm gonna give it a cooler, something like this. I'm going to make it. No, I'm not gonna make it thicker. What I need to do is I'm going to duplicate it and the one below I'm going to make it white and slightly thicker. I'm gonna give it a beautiful course and there, and I'm gonna sue mean So I show you what I've done. So you see here there is these white line in this white line. So that's what I created. Maybe I reducible to our serial point three or to the wasemiller I checked later when everything is done and this bit here. You mean I'm gonna break kids now? I realize I have these from before, so I'm gonna just reset it so it comes back to a normal stroke without the allies ends. And now these one. I wanted to be the only be thinner, but also but, uh oh, but also be toast parents. Okay, So because if you look at your reference, let's just check the re friends. See there, this area here, it's just not accept less this one. So I also I need to make it smaller, and I'm going to make these one cedar something like this. So I have this area there. I am now creating the idea that it's inside the hole where the light sits, but in some great in there. In this shape, no place is one we call response somewhere like that. Yeah, make sure they are there. I actually need to make this shape better because I'm not gonna be masculine the stroke, So yeah, it does need to be more accurate in the area there. These It's the change of color. Amina, I'm gonna just take this one. I'm gonna copy attributes here. Yeah, because I think he looks I mean, sometimes I just put the colors at the very beginning, and then I just like them because I start seeing things more clearly marked. Really? This always gets in my way, sir. If so, Yeah, I think it works. All right, that's it. That's it. Okay, Now I realize that this is wrong. Do you see t Jesus? Jesus uses. This is wrong. This shape is wrong. I'm not sure. What did I do here? I'm just gonna fix this area now, and I'm gonna place everything in its place. Also the line. So everything is looking good. I just did an error there, so I'm fixing it basically. Okay, So I'm gonna keep working now on creating a lady days now, these shadows with a bit of pressure in the stroke ago, she, um, blower, just the usual things. Now, these sideline that I take a bit more high position in the right layer. All the details are creating the side like a small one. The indicator, I think it's cold. And well, as you can see, it's like creating an abstract painting. It's full of little pieces. I do it with little strokes. Are simply using a primitive like I'm doing here. Now it's about creating a make believe. So it's very important that you some out of something here in this text, it's very important because from a distance you're gonna see better way better their differences and how things are working from close. It all looks like an assault painting, basically and well from a distance. As I say, you're going to see how things are going, and it's really worth things to start getting and having some sense. And even though it looks like what it is like a nice champagne dinner what? No, it's it's really getting the job done. I mean, it's it's there. So I find you and everything. Then I assume out again, assuming again, keep working a bit. Of course, symbol for its one of the business is a bit of tweaking. And at the end, see, now looks really like it. Sure, Now I'm going to create this shadow. Actually, it would be better for especially if you're not really like, if you're more of a beginner, it's better to start from the bottom layers and making it grow to the glass leaders. And I mean, I'm very used to it, and I can just weak, but my recommend that you would be a start with the main body of the car, put the colors there, put the shadows, put the shines and then go for their leaders, like the lights and shiny parts and stuff like that. Now I'm creating the front. Another indicator, I think it is. And, well, it's just the same thing as useful bullies trucked in and, uh, creating the strokes in such a way that they are not really strokes. But this subtracted shapes. And now again, painting that kind of like an Astra thing inside to make believe it's lights. I mean, nothing like a bold or, you know, it's just a master actor shape. But now I'm gonna sue mouth, and you're gonna see how what it works. And remember, always use a bit, of course, similar. Even if it's just 0.1, just use a little bit. Don't overdo it, because I won't be good, and basically it doesn't holding. Now we're gonna finish this part in the next lesson to you. There 14. Front Part 2: way. Okay, so here we are for part two on the front side of the car. I hope you're still there, and you didn't fade away. OK, so let's get going and assist. Well, I'm gonna be working and commenting on what I'm doing. I'm gonna put it on the side. My reference Yes. You know, I go changing and I'm gonna keep working. So the first thing I'm doing here, it's creating highlights. And well, of course, I'm gonna give it a caution blower, and I'm going to apply this technique which is replicating it. One of them is gonna have a ghost in Laura's. They said also transparency and the other one is gonna have a lower amount off course in blue. Because that way I will achieve the code that house in the bottom side, off the shape. So it gives much more for our realistic industrial touch. If it's only blurry, what he has to be on top. And it has sharp cuts on the bottom for these values, Mr Shapes. So I can just play a little bit with blurriness and a little bit with sharpness. Now I'm just in again. This technique off liner to pluck Bullen to this shape, also creating shadows for the main body off the car actually out. Our recommend you to do this first if you're not very experienced or, you know, feel really comfortable because well, as they said, it's better to work from the bottom layers and just go up at in details. It's this year to see things like that. If you think off the wall, just go ahead and do as I know. Just create your your shapes us as you prefer. I'm creating now all these shadows that I need to put below the car again. I'm just tracing the shape and I am applying some noise a little bit off course in lower. And, of course, the Grady INTs. And little by little, I go creating all these highlights and shadows for their for the car. You're going to see other very end that really gets for a realistic look, and it's just painting with shapes. As I always say, This is my own personal way off translating India's formato technique into vectors, and it's just, you know, it's just the mother off playing with gossip blowers and shadows and blows and cutting shapes and just just I think about the mouse as if it wants your brush and replicate what you see. And he has to work because of the way things are is the whole away. So for those of you who are not very well versed in painting or fine arts school motto, it's a painting technique that consistence often in transition between colors, so in such a way that you won't see cuts between them. So the transitions between them are gonna be very soft between lines and shapes and edges, and in such a way that it looks all very small, which is exactly what we're creating here. And while I'm trying to apply some off, that's into inter vectors. And it's also something that I like to say to people that many people think, Oh, is this is this really affinity designer? Or is this really these other somewhere? I thought you couldn't do these things with with software like like, you know, maybe with illustrator, because it's been around for solar. Hey, guys, this is not about how many tools are how many years you have. This is about understanding how to use those tools and At the end of the day, you're seeing how very little tools we're using here. It all comes down to go similar billions, especially the subtracting, creating some shapes and painting with those and, of course, organization off layers. Ura care of layers. You have to have a very clear and with that, you have everything at hand. Basically, I mean, of course, I'm Brady's blah blah puts nothing else you don't really need, Ah, big amounts and arsenal off tools to achieve the results. So I go completing here different shapes, different things. Now I'm gonna create the front again is just a simple shape that I go creating. And as you can see, it's not that I spent too much making it perfect. It will be perfect at the end as long as your notes are smooth, which I usually many times I smoothing with the corner tour because, as you know, these two really, really makes things much easier. I mean, it makes me work much faster and not having to be absolutely accurate. From the moment I'm starting tracing, I just can make things much better as I go along. Go changing Grady and sculpted in the smallness off my shape or changing the shape itself by moving the notes. Then again, every beat, very important to play well, your cuts on highlights. The highlights are going to give a very realistic look two things. So just spend a little bit of time starting them and make them in such a way that they are really highlighted. Also, many of these techniques I would just recommend to absolutely follow because they are. I mean, they provide very good results, but you don't have to follow everything as he's. I mean, sometimes, as I said, I may use this technique or these other. But things like, for example, don't use the strokes. Try to avoid the strokes. That's I wouldn't skip it off course, using the little amounts off go similar for mostly all of their shapes in these species also would follow that that one. But some of the times is just about your personal preference and how you feel more comfortable. Except, for example, I have a background that is blue, say, and I have a shape on top and I want to blend the background in the shape I could do it either, using radiant. So the end of the grading fades into the blue of the background. Or I could just use a transparency tool. It doesn't really matter. This is up to you or or whatever you see. What's better as you're working, don't feel too constrained to use. Exactly Why would she use or No, no. I mean, there's so many roads that lead to Rome, so just find your way. So as you take a look at the piece you go seeing how it starts really coming out, as it sure it's it's like magic. Yeah, well, of course there one has to spend some time working on this, but the results are really, really nice. Sometimes I even myself, I just look at how how did I get here? When did this happen? Because, yeah, it really, really works. I mean, you can imagine the first time my first attempts to eat this. I remember when I was starting out, as I couldn't even understand how anyone could create something like a dog icon. You know that the dock icons in the mark I was just looking at them. So, like, Oh, this looks so Pelosi and so perfect. couldn't even believe it. And of course he was not one day to the next that I just found out how. But it was something like one day I realized that, Yeah, this is where you go. And after some years, of course. And it just started pushing this big sellers and doing these things and bang, It was it was amazing. Like, OK, this is really starting toe work. - See what I mean? Even this little amount of highlight there is very important. It's gonna make them the light in there look much more realistic. Once I'm done with this little amount off, highlight that you will see that it really makes it come realistic. Okay? - And I didn't. All these little elements is very important. Like the more you you are, the better things are gonna look. And the more realistic they're gonna look if you get to have ah, strong are for detail Justice can dream age and tried to replicate most of what you see, if not everything. Because that what you are really gonna gets where you want to. And so, as I go apply in my own personal for soon off this for mother technique over my car. I go completely in the front side and as you can see, it starts looking very good. I hope you are following along. Please ask me whatever you need to know. If you didn't understand any off their techniques involving here or if you're struggling to get something done properly, I will be very happy to help you. This is not go ahead. Let's finish this portion of the car and let's continue with the details in the next lesson . 15. Rear Part 1: we're going to the next lesson where we're going to start working in the rear part, the back lights and all that area. This one is gonna be a long lesson because I didn't want to skip any part. It's up to you to fast forward to skip the parts that you think you know, or just completely skip this lesson if you feel confident. But I wanted to live there every step and so forth because where some people may need some help. So let's work. So we're gonna do now the rear off the car, the back side. We're gonna change this to these. We're gonna put it here because I'm going to start with this idea. We are going to make this physical and this one invisible, and we're going to start working. So yeah, let's go grab your pen tool and start tracing. You know, the useful things. So we have these, I'm gonna put it up, I'm gonna duplicated, and I'm going to grab the one below. Gonna make it like, Oh, I'm gonna reset this again and the same for the one on top. I'm gonna reset it. And as I was saying, the one below. I'm gonna make it a bit. Figure something like these. Go out a bit. Of course. Implore my effects. I'm gonna pull out, Okay? Something like this. Now I'm going out a bit off radiant to these. A company like this for the time being. Gonna grab, bought off them. I'm gonna group. Then I'm gonna put them on top. I should off group these before he belongs to the front front days. So I think that okay, keep them working. When I waas, we just remember the group things and name them because I forgot in. That's not good. Especially if you're not very, very well bursting this. You may just make a mess. You don't want that? No. Sorry. That's I repeated a lot, but it's important. So we're here now. I'm gonna take this outside for a while and I'm going to work on the lights. So, Ben Tool And because I have already these in here, I'm going to be working like thes abuse. It is way to think she's grabbing my last stroke. So a little bit thinner to the five. I think it works on. I'm gonna give it this collar. It's a great on the red sides because it has some reflection for from this area. That's what's important. You don't want to make this gray or green grace or black. You want to make something like I was just in here, which is a great that has some reflections from the light itself, which is reds. Now, I am going to make this shape here and until here, and until here No, I think now I'm gonna make Theis part in here. No, I need to fix these of it because it's not so curvy like this. Now I'm gonna grab its I'm going to duplicate it, and I'm going to get rid off thes. What I'm doing here is this area you see in there. So the first thing I want to do is move in these obits until here and until here. So in these one like that now I'm going to come here to pressure and I'm going to apply. Oh, it's on the other side. So I'm going to apply. Oh, you're a bit of thes because, as you can see, it's thicker here and thinner there more or less. I will also change the color next, So and I will apply a bit off trans bodies. Not too much, though, but just the beat. Now we have that. I'm gonna make opa rid of that as you see an Emmy work here. And they were there. I just go alternating. Gonna make thes year something like that. I think it can work, but I get rid off this stroke, and I'm gonna nuts. Grenadians that is going to be It's going to have a base color, which lets say, Could be Yeah, do something like this. Oh, no, no, no, no. I want a solid color, something like this. And you know what I'm doing now? I'm just completing what I see in these lights, more or less. Something like these don't need to be super accurate. I just need to make it water. So a bit of noisier, A bit off course and blue here. Not too much, not too much. So something like that. These are going to a mask it now. Obviously, I'm gonna take these and I'm gonna put it where it belongs. And below the lines, this joke somewhere there gonna work on these, gonna give it a base color again. Mm. Something like this noise. Place it there where it belongs. I am going to replicate it. See, instead of just making a stroke here now or tracing a line or whatever, I just use this. Oh, I think it is the best way to do this. So, uh, I would recommend you to do the same. Gonna make it, doctor, on the red side. Now I'm gonna do again. The same. Take this one. I'm gonna move it like thes drugs. And I'm gonna make this area here. Gonna give it a grade in color. Like so a bit of Ah, go Sembler again Darker. I think it's to be a bit darker here, so let's go there. Goods. I so maybe needs to be phenomenal there. You can work like that with the goods. Now I need to make this or first off, I'm going to position this worried hasta be, which would be somewhere here. I need to make this area here, so I'm gonna work in here. There. I'm gonna work in here. That part, Um, something that even better. I'm going to Just graft is copy pasted. Take it up by cutting its and I'm gonna do these, and I'm gonna do this one of the way like this. No. Only because his we're faster. I'm gonna do it like this. I'm gonna at a node in there, and I'm gonna get rid of this one. Mm. Even I'm gonna got here Open. It's I'm gonna grab this one here. Something like this. This is separated, as you can see. And so I grabbed these parts, and I make it this other corner wits here. Now, that's the border, even a bit duck. And for sure, I need to put them up. Beats like. So now I have to treat these little things that don't work. They need to replace where they belong. Things won't. Probably needs to be a bit more here. Okay, I'm gonna grab the whole thing, Including this on a group. It's the, uh, lights. So having there? No, I need to see what I'm missing. It's even better toe like this. What am I missing now? I'm missing all these feeling here, so I'm gonna fill it with color. They read of the stroke. I think I can work with with the great in and here, so I'm gonna copy attributes. I'm gonna pace them in. No, I'm gonna just play a bit with their radiant there, like so, um, it's more on the purple side. So I'm just gonna grab the cooler there and even for these one and needs to be more on the purple side or so. Yeah. Good. These goes in there. Be low, but no below These one, you know, now to cater beats so but good goods. Now, these Sadia here let me just but this back. Uh huh. So, um, me to the reason that let's go fill this nice. You put it there and here and now the next. Just replicate these shape and extend it and make it the red color, which would be something like this important. And it's also a radiant because it's not completely like that. Something like this. This is a way to being so I'm gonna grab the color from here, so Mm. Yeah, I need I need to make this not aware. I think it be better. And these pull it up, they pull it up, and this thes even I'm gonna just put them like this, and then I will overlap. These white 80 other gonna do now. So I'm gonna start here. Panna bits. No, not these gonna do these here. I'm gonna to these year and these, you know, give it white color. Take a bit. The shape of it. Your place it here. I mean, this is more extreme. Them that. So I'm gonna give it a transparency so I can see what I'm doing here. Actually, I'm gonna give it a different color, so I see better. You do that too, as you go working, then to change it again. So something like these we can work like that. So back to what Color and back to 100% transparency capacity. Amen. What we're doing and back to 100% capacity. A bit of a goes in blue here, see if it's enough like this. I'm gonna make this area here. The continuity. I don't want it to be just a stroke. I want to fill it up with some color. So why noticed? Throw. But I think it would be I mean, if I want to give it some effects, it's gonna be better to have a shape in there. So and just to be laid up better than Okay. Now, I see these needs a bit more off a dark color in there. Also, I'm gonna add this highlight here, which is going to have the scholar here and put it there. Gonna give it a bit off course and blower. I love that now when they put this one season No. These one in these one gonna go close by up there so we can see them. You there. No check. Yeah, I think I'm gonna copy these attributes and place them in there. It makes perfect sense. Okay, Maybe even a little bit more, of course. And go for these one in here, and I'm gonna check from a distance, which is very important for stuff I'm gonna get really off my three friends. And I put this year and yeah, I think it starts to work. So I'm gonna keep on working here, you know? Take these. Gonna put it on the side. Mm. And again the same. Get rid of these. Switch on these layer. And there we go on , duplicate it. Get rid of it off. They got in blue. And no, the one below. It's going to have the transparency on the bottom area because I want this to be a bit more shopping than these on top, and these one all the way around something like the got, assuming a bit more grab them to probably. I'm gonna use 1/3 image. We're just gonna have these to be more seamless in these area. Actually, for it to be more seamless, I'm gonna put this so and at the end. Well, it's just a mother of finding exactly the shape that gives you the results that you're looking for. It doesn't really matter how you do it. 34 Long as you get what you're looking for the end. So I think it's pretty similar and it's good to go, not a place it there, just making it smaller. Something like this. Check here. Now, what the we've seen here is a bit off a dark color. So I simply I'm going to take this shape I'm gonna duplicated and the one below I'm gonna give it these color something like what I see in the image. Something along these lines, even darker. And I'm gonna move it up beats This is a bit more off a goddamn lore, and I am again creating this effect, like and his full model something like this. Now let's stop this lesson here and keep working in the next one. 16. Rear Part 2: I'm gonna covertly Sadia. Now I'm gonna go until here Only can just pass the boundaries because I'm gonna mask it. I'm going to trouble these and these and these. I'm gonna copy the attributes and I'm gonna paste them in my new shadow there, and I'm gonna place it somewhere near what it has to be. Now I am going to make this way lighter. Off course I need to No musk thes. So I'm gonna take these and I'm gonna come here to the main body and I'm going toe musket in like these. I'm gonna know, tweak things. So it works us. I needed to like, So I'm gonna take this shape now and I'm gonna movie like this. I mean, I'm doing this because I save time and I cannot just ticket so I don't have to mask again. I don't have to pick the call or blah blah. So I just took that and I'm doing now this area here and obviously now what I have to do is complicated, and I'm gonna cut it so I can work outside. I'm gonna get rid of the go similar, and I'm gonna replicate it. I'm going to subtract here. Now I cut it. Come back here again. Yeah, I based its And I put it there. So again, I'm overlapping. Lots off layers and banking painting on opera. I'm painting with them shapes. Maybe this one can be a bit even darker. I think so. I'm gonna make these 80 a here. So for that, the best thing to do is taking this. I'm going to look for the main body, which is thes and going to copy it, and I'm going to press command all shift end, and now I have it in a new campus. Now, I have to get rid off all of this stuff in here because I want to make a subtract him. So all these I don't need I have the original shape. I'm going toe obligated. I'm gonna give it a color. So you see what I'm doing here, and I'm going to some other bids, and now I'm going to make it grow. Beats gonna place it there on doing the backside. So this is gonna be it's. And now I'm going to subtract, Banged. I don't need all these outs out. I just need the shaping here I'm gonna copied. I'm gonna come back to my drawing, and I'm gonna pay states there, See what I mean? Now I have to change. The call are just for starting something like this. So I know what's going on here, and, well, I see this way too thick, but it doesn't really matter, because I can take it now. Bad fix. Now I'm gonna give it, um, Grady in color. Now, I'm gonna treat this color because this is not what it should be here like this. And this is gonna be a bit lighter. Then it is somewhere there. Nice. You guess rights when it knows. Okay. And now we want to mask these bits. Still images, See if I place it there. Perfect. It works. It works. Thus it does work. And again, I'm gonna need to take a big degrade in there, because this is now toe to light. Something like these. Problem. Probably. I want to copy it. Take the one below movies up and to the rights. Just one pixel. And at this kind off dream around, keep it a bit of a course on floor. You know, the same old study keeping a bit of a on a paucity and take a look rates. And I think I like yes, it's good. Something like that. Now I am. If I take a look at the wheels, I'm gonna cut the one that is mine. This is Dean reference. Gonna pace mine. Now you remember. I made it a bit flat on the top and the bottom, And I didn't do the same for this one when I moved it like this. So be careful with that. Just try to make it look good. Well, I'm gonna just I'm gonna just look for the main base off the wheel, which is the tire. It is this one. I'm gonna pull it up slightly. And now I'm going to rotate, rotate the whole thing. He's. And now I can make it flood again on the top and bottom. I mean, it's just just literally days. What day cones. So at the end, these things does. This really does not matter. If I move like this, it's not gonna be visible. The and these little things also can't. So be careful with those details. As I said, you can also change some stuff in there. So they are not completely, exactly, exactly the same. Okay, good. Now let's get him working on this. Where am I? I'm gonna collapse this. I don't like gonna put the hunger collapse thesis, and I'm going to work this shade in there, so let's go. We traced these shape. First off, we give it a color, a bit off noise, as usual. Now I'm gonna place it on top off my reverence, and I'm going to give it a bit off our transparency with transparency. Tool on top. So if fate same seamlessly with arrest off the Jordan Now, I'm gonna put my drawing below so I can see how it fits inside and fixing some. Some stuff there. Like the corner because it was a little bit too sharp. Just doing little tweaks in there. And now the next part is going to be after adjusting everything. And when I'm happy, I'm going to create a stroke without subtracting. I'm gonna place it on top because if you take a look, that is to the left side of this shape. There is a bit of a stroke and I obviously created with our subduction, as we've seen all along this class. And obviously we need this area here, Doctor. So, for that's I'm gonna go back to these, um, shape I just created. So I come to my shape duplicated. Take the one below. You see it here, where the first thing I'm going to do is changing the color off the field to this. I'm gonna get rid of the go symbol. For the time being. I'm gonna position it what I wanted to be, which would be he improved over. And probably also there at this not on the top, but on the sites A Yeah, I see what's going on. I need this to be I need them all to be garb office, so it's really visible. Okay, so he's you go playing with the Iraqi lay of layers because it's very important. But of course. And now, very, very subtle. Don't overdo it. A seven. I don't like it in this alien. I don't think it really needs them, but they wanted thus, Now I'm playing with both goes and Brewer and Pollner and well, and also with transparency. This is way too rough. Wait rough. So he needs to be. I'm gonna bring me the bus city here. I see. And that works much better. Much, much better. Good, good, good, good. Oh, off course. I destroyed this shadow here. So? So my best bet is going to be coming here and putting their so everything is in the right order. But you won't see these at first sight. You just go working and need to move things and need to make them work and look for the solutions business to be fixed. Come on, just come here. Um, yeah, is not mask. It has to be. So let's just go rabbits and putting that perfect. So to keep them working, I would like you to notice how flood this area here looks compared to this really looks, flats and its deads, and how much he will change the moment we put these area here, it will change completely and well again. It's a matter of, you know, making believe. So let's create that shape there. Be aware that this this you see here it's part of it. And I already did it. So I want to work in a way that probably I'm gonna pass over it again. But I have to just be making my lines coincide with this already traced. So I'm gonna start. And also this is too straight. So I will have to fix that. I'm gonna stand I like this universities. And again it would be blurt out. So you're sofrito work with this in such a way that you have. You can be totally not totally, but quite quite careless in a way that it's organic, almost beaten being a car. So let's go for it now. I'm gonna put the effects here so everything is much easier to see. Let's just give it a go. Simpler. Just put it down there. Now, what do we have to do? 123 Yes, we could it We come down to the main body of the car, which is here, and we're gonna musket in, like, so. Assist, I I love it. I love this. Looks so nice. Now I'm gonna duplicate it, and I'm gonna play again a little bit with ago. Similar. Just toe. Make it not so dreamy and blurry. I want to give it a bit of a chapter, Could down in the bottom and probably on top. I want to give it a bit of a conspiracy. So that transition between the one below and the one on top, it's even more simples, which is what we need. Pretty goods. Of course, this area goes on top, so let's just grab both of them. And it's just position these supes is below. These are ream here calling whatever. I'm not sure what's in it for that. I don't even know it in my own mother language. I don't know how would a college but just put it below that part in there? So that's good. Another important thing to notice is that when we grab not the most perfect image, which was part off there class part off the exercise. And as against in here, we can see these lions thes thesis stripes in here and these reflections off course. That is only the reflection in the product off this car, being outside and getting reflections from the surroundings. So now creating this car that it's inside up this kind of a scenario and it's like a little bit on, really. But I have to take this into account. I don't need to reflect everything this courage affected here, so I have to just play a little bit with the balance between lights and shadows. And for sure, I'm gonna leave most of these ones, if not all of them out off my final piece goods. So to keep on working on, not just some innovate. And I have to fix obits The's sadiyah goods. Now there is a bit off my difference between the white in here, these in here and these in here like a Grady int. So I'm going to reflect that in my piece. This is just the field, so I'm gonna give you a radiance, like so even more like he's course I need to make his mark more visible. So no time like this. So basically, what I'm doing there is creating the shape. And then I break the point. I converted into two pieces so I can give different rating colors. Tow it. Now, basically, one of the winners finished enough. The details for the inner parts off this light. So applying the same shape noise cause similar here cure layers. And that's what I'm doing now in this morning, this is stroke. I'm applying this pressure difference of pressure because I think it really works in here. So the bottom base or the bottom end off this stroke is thicker than the stuff you can see . Things are working out pretty well. Things are really working. And again, I want to say that this is not a class on teaching you how to copy a car or a piece and making it look exactly the same. Which is something nice. I mean, if you are into realism, why not? I mean, it's pretty nice, but the most important thing for me is for you to find your way through the software, this one or any other, because at the end they work in the same way and just being able to understand that with just a few actions in a few tools, you gotta be able to do whatever you want. Beat, realistic, beat flat Pete, Whatever I want you to to understand that it's not a matter off complicating your life with lots of tools. Yeah, I want you to understand that a few tours do the job. I just think that painters paint with just brushes, and basically, that's it. Of course, it's technique behind that, and that's a very important part of it. And that's what I want you to understand. Just a few tools, a bit of technique and, of course, lawful. What you doing? - Take a look here. Them creating this shadow and what I'm doing. It's replicating the shape many times in such a way that it doesn't look like it's levitating. That's very important. Just make it look below the weirs. It has to be the maximum amount off shadow, so it looks like it's really touching ground. Okay, I see many cars and they're flying. Rwanda, so duplicated. Make it dark enough and it would work. No, see you in the next lesson. 17. The Mirror: So in this lesson, we're going to be creating the mirror. Probably. You already know what to do. I mean, the techniques we're gonna be using are exactly the same as we've been using throughout this glass shapes, radiance, Gaussian blur and subtracting and trying to replicate what we see in a reference, this really nothing new to it. So you can either do it on your own or follow along with me for sure. If you have any doubts or questions along the way, please ask me. I will do my best to help you out. But as you can see, I'm just painting with vectors. And with this four or five methods have been telling you about at the end of their video, I create the base for the mirror and also the shadow with us, the whole mystery to it. So go ahead, create this mirror for alone or do it on your own. Asked me your doubts place. And I'm gonna leave this here until the end. And in the next lesson, we are going to be finishing over or car. We are going to give their fine tune into it, and we're going to have it ready to ship. See you that way . - Way 18. Fine-Tuning: Okay, so this is the last lesson. We are going to be fine tuning all the details that are still missing, and we will be done A So you could see everything has bean travel e building up and getting every son better. And I hope you exactly there and show me. So we're gonna find him. Come on, Way. 19. Final Message: What? So? So congratulations. Because if you're here is probably because you feel it's this glass and are now a much better at this. I hope you feel is the final project to just getting I mean, I wish to see it. So that's it. And now you're gonna show me because that's the whole point for us to just enter, change things and just show me because I'd like to see how people are here. And then I understand that there, that's the point of being a teacher. So place. Show me. That's the only favor. Um, asking for if you follow along, please let me see now. Big. Thank you. And you know, if you have any request for the class, talk to me and I might consider it. I will see you very soon anyways.