Sports Illustrations in Photoshop and Illustrator | Simeon Elson | Skillshare

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Sports Illustrations in Photoshop and Illustrator

teacher avatar Simeon Elson, Illustrator and Graphic Artist

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

13 Lessons (1h 18m)
    • 1. Trailer

      1:42
    • 2. Preparing the Reference Photo

      4:57
    • 3. Drawing the Lines and Shadows

      6:49
    • 4. Creating the Skin Contours

      9:10
    • 5. Illustrating the Sports Kit Part 1

      7:03
    • 6. Kit Part 2 Making Realistic Gradient Blends

      12:58
    • 7. Producing the Helmet Glass & Illustration Review

      2:11
    • 8. Adding Swooshes to Sports Figure

      6:12
    • 9. Applying Splatters

      6:11
    • 10. Applying Splatters Part 2

      7:59
    • 11. Employing Depth to the Composition

      10:24
    • 12. Final Tweaks and Adjustments

      1:15
    • 13. Conclusion

      1:34
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About This Class

In this class we will go through the process of creating a dynamic sports illustration from photo reference or hand drawn sketch that expresses energy and movement using Photoshop and illustrator. Throughout the process I will highlight the professional tips, trick and shortcuts I have learned over the years to produce many commercial and editorial illustrations for international commercial clients.

We will prepare the reference photography firstly in Photoshop to intensify the images contrast. We will then cross over to Illustrator to create the vector portrait stating with the ‘Line and Shadows’ Layer using the Pen Tool and custom brushes. Next we will look at drawing the skin contours and facial features before executing the sports players kit to finish our vibrant vector sports figure.

Next we will cross back over to Photoshop to add the energy, sense of movement and dynamic composition to the illustration through mix-media elements and noise grain brushes to give our sports player smoother contour transitions.

By the end of the class you will be fully equipped to create great sports illustrations combining vector, pixels, abstractivity and mixed-media elements that will wow prospective clients.

This course is for creative students, professionals or anyone who has an intermediate or above level of skill using both Illustrator and Photoshop.

Meet Your Teacher

Teacher Profile Image

Simeon Elson

Illustrator and Graphic Artist

Teacher

Simeon Elson is an inspired Adobe certified commercial freelance illustrator, graphic artist and photo retoucher based in London. Simeon's explosive, realistic works are inspired by sport, music, comics, movies, street art and current affairs. For more than a decade he has developed and diversified his graphical style(s) merging digital illustration, vector graphics, traditional drawing, mixed media elements, retouching and photo manipulation to produce images that are innovative and full of energy.

Simeon has created illustrations and designs for: advertising agencies, television commercials, 2D animations, apparel, book publishers, fashion brands, magazine editorial, record labels, online content and commercial events.

Selected Clients:

International Cricket Counc... See full profile

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Transcripts

1. Trailer: Hi, everyone. My name is Samir Nelson. I'm in Adobe Certified freelance illustrator, graphic artist and photo retouch er from London in the UK My client list includes the likes off the International Cricket Council Microsoft Diesel, Great Court on Penguin Books. I've been a massive sports fan. As far back as I can remember. Things is why sports is so prominent in my portfolio. I love being expressing an injecting energy and movement. Tomorrow, the name of this course is creating sports illustrations in photo shop on Illustrator. Throughout the course, I will show many cool professional techniques, tips and shortcuts I used to make my sports I work. Main aims of this class include preparing your reference image in a photo shop, producing a dynamic, realistic sports director portrayed in Adobe Illustrator that has a cool mix of gray scale and C m y que color scheme and then back in focus shop at in a sense of energy and movement into the administration for compositions and mixed media animal. By the end of the class, you'll be able to create vibrant sports of the strangers, combining vector mixed media graphics from photo reference or sketch that full of realism, life and 2. Preparing the Reference Photo: Hello and welcome. Ladies and gentlemen, in this lesson, what we're going to do is prepare our reference image by injecting more vibrancy and contrast, especially in regards to the highlights around the skin tones. And parts of the kids were going to do this because in the sport's image, it's all about injecting that intensity off the moment, the movement, the energy. We can use Photoshopped to do that before crossing over into illustrator. Okay, So the first we were going to do is just do bouquet our reference image background layer. So I was gonna drag that onto the create new icon. Okay, What we're going to do now is just like we say, intensify the colors by changing the blend mode to color dodge. Now, if I Desprez said and scroll that, we can zoom in how down the space bar. Just move that to the position I want. We can see if I cook away the visibility of this new layer, we could see that we have injected a lot more vibrancy there, so I'm just gonna double click in entitle it highlights. Okay, I'm going to zoom out. This is Ed and scroll down. Okay? so we can see that we've got some good highlights, but it is a little bit too intense. First and foremost, I'm going to take that down to about 80%. Okay, Andi in certain areas is no helping us because it's changed the color, especially of the helmet. If we look there ultimately, what we're gonna go for is a more abstract look in regards to sort. The bicycle in the will is gonna be more abstract, so there's not gonna be that much detail. But still in regard to this helm, especially the blue has turned from ah, mid blue to ah, very light blow. See? But if you like, So it's okay on the kit, but not so much in the helmet. We're going to keep somebody's home like elements, and we're going to refine other areas. So what? Well, create is a layer mask by clicking the add landmarks icon on your legs palette, and we're gonna invert it by kicking control or command. I so that inverts. It said that basically is blacked it out on a layer mask. What is why is what you see completely to full capacity and what is Blackie's is blacked out. That's where we can't see it at the moment. So we're gonna get brush. Set your breast around 29% capacity. Andi, if you want to edit the size of your brush, it's the right bracket key to make it bigger. Andi Left Bracket Key doesn't make it smaller. So I'm just going to well, say, said, I'm just gonna zoom into this area here and I'm going to hit be for brush. Just look at the brush type. It's just a default brush with the hardness set to zero. So now I'm just going to draw with my brush, and that's going to bring in those highlight elements. So I'm concentrating on around the skin areas and the kit, okay? And because 29% it won't come in straightaway, we consider a little dot that I symbolizing that visual. And now if I click the visibility on in a way, we can see what we've done there for NASA. Ultimately, the technique that we're going to use Justo inject more contrast and energy into the actual athlete here before we cross over into Adobe Illustrator here. Not so much on the kid, but I'm still gonna add a little bit, especially so the legs. Okay, so now we can see that's it. With the hands just going to decrease the size, we're now adding that energy that we're looking for. Okay. And on the flip side, if you overshot it, for example of God over too much, we can outside of the hand, we can just flip the color to black and black is what you don't see and we just color that back in knows that. So if you if you've gone over it too much, maybe you've added a little bit too much white. You can just paint over as well with the black and now remove their or just tone it down slightly. So that is how you inject more vibrancy into your reference image, using a combination of blend modes and a layer mask. What we're going to go on to do is finish at in the vibrancy of our highlight layer. We're going to save the file as a reference image prepared onto the next lesson. We're going to cross over into Adobe Illustrator to start the illustration process 3. Drawing the Lines and Shadows: Okay, so now we've crossed over into Adobe Illustrator on. We're going to begin the process by creating the lines and shadows layer. Okay. The lines and shadows layers very similar to what you see in comics. So is the first evidence off structure and a lightness of flip over to the administration I created previously for sports editorial weaken, See the lines and shadows lay in full effect over. I just cook zed and scroll up to zoom in. We look at the face, we can see that we got there sort of knows is the mouth on drawn around outlines minimally where the shadows and outlines are just a get that evidence of lightness and going around outside of the clothing shadows and body parts that build the structure for us to then go on and create the rest of the illustration if I turn on the visibility. Okay, so we got a powerful black and white color scheme, the black and white skimming for color. So we're gonna use the same color scheme here. Within this lesson, we're gonna look a few tools that will help us create their line works. And Charles Layer pre swiftly. I've already started. So if we take off the visibility, you can see around assault also area and got the silhouette of the bike. The kind of look I just think it would be cool to go for is having a bite more in a silhouette, form less detail and really honing in on the actual cyclist to get the injection of detail before we take over into Photoshopped and play with some effects. And that's a mixed media element. Let's start by looking at the par find it'll it's gonna go window Finder. Okay, If I turn off the visibility off the ninth instead of layer, we can see that we've got some gaps where we've been the bike around about the pedals areas . What we want to do is subtract these shapes on to give us a nice clean silhouette when he gets are. So what we would do if we look at this. The shape here is the base of the let We've got the shaped above it, and these are their shapes. We would like to subtract from that means to the way, so as long as you make sure you got the bay shape at the bottom, and we just clicked literally. The miners from function and at delete stones shaped for us. Okay, so now we're gonna go on to look at how Well, draw the shadows. So just in a small area here, I'll give a quick exhibit. All right, so I'm going to select P for Penn. Tal is a name quite a bit. Well, I like to do is just starting a corner around here. Okay, So I'm gonna go here, put capacity to zero. This way I can see the outline that illustrator gives us with the red shape here. And then also, I can still slowly see the photo. That's why I like to turn the capacity to zero that you're just going to click and drag on a draw en jury. Need these shadow areas around about the mouth. Now we can see that it's not regimented, Lee straight. So we can be a little bit inventive and get that kind of textured outline, especially in the inside of the mouth. And when we go on, the outside will be a little bit more resume nted on da a little bit definite and accurate . Okay, Like so just click and drag nicely. Complete that shape and we could see it in a transparency palette There. Okay. And again do the same thing. The capacity to zero. Just draw in that shadow. Okay. When any kind of minimal outlines my so pretty capacity to zero. No, you have it. Okay. We can do the same again for around about the nose around the edge. So for outlines as well, it will be good If we could ray our own custom brush. I'm just going to close down the power. Fine. A palette was gonna go to the top of the campus here. I'm a hit. L to get the Ellipse tool. It's going to get the ellipse still go up slightly and come across. And now to go back down. All right, So I'm going to do is flatten this down a little bit. Okay, So a shape similar to this is what we're after. Okay, so I'm going to now click it and hold it over the brushes palette. Make sure we've got the green circle with the white plus sign going to release, and it's going to give us a new brush window. We're gonna slept our brush and click. OK, and I'm just gonna call this outlines one. Basically, we're gonna keep the whip fixed to 100% stretch to fit. Length is the main essential component to make sure we got take. And other than that, we're just going to click. Okay? We're not gonna change the colorization. Okay, so now that we've got that outline, I'm just going to zoom in. Just gonna do outline just starting from here just to show how will tackle these outlines, Make sure we've got the stroke on the outside and no feel okay, you know, put the capacity to zero gain just so I can see I'm Joran. Okay? And I'm just gonna go out on the outside, like so Okay, so this will help us to drawer in the outline on agita teeth. We can extend these lines is as long as we want, but we're just going to stop that right there and then literally gonna quick the outlines brush one. Put the capacity up to 100. Now I'm going to zoom out, Okay? I'm gonna zoom out if you want to make it a little bit thinner. Just change a stroke to maybe 0.75 It depends on preference, but we can alter those as we go on. But ultimately, that's how you're going to create these shadows and outlines. Okay, So bearing in mind the example that we showed of a previous sports editorial here, the first task will be to create your own shadows and outlines. Lay off your sports illustration. Okay, What we'll do is our finish. Mine in between. Lessons will come back in the next lesson and compare notes and see how we get on before going on to draw the skin control. 4. Creating the Skin Contours: Let's have a look at the lines and shadows, layer. Now that we finished it, have a zoom in. We can see. We've now drawn in the facial areas Run I or Marty nor the body parts the partitions in between fingers and outlines of the legs. We got a silhouette basis for the bite. Now we're going to move on to do in the skin contours. I've already drawn the skin base and we are using a black and white color scheme. Let's to make sure we have our document color mode to see him like a As for us to get accurate color output were mixing color with black and white. So we look up color palette Here is a literally were going into the column. Oh, being gray scale. So for the skin were using grayscale on the base. Color is 30. So we'll do. Is I put up the switches product. We'll get this gray here would double clicking and call it skin base. All right, that's awesome. I just took that back in there for the time being. We got our skin base here. Now what we're gonna look at do join is the medium contours on the darks contours of Indus Lesson So it doesn't turn off to visibility here Does not have a zoom in on just remembering for risking bases literally the base. Now here we're gonna We're looking for a general first outline contours and showing his former definition So pink going on Ah, long here. That's so show A quick example was gonna get my pent or put the a pass 32 0 again Just zoom in when we could see we've got the highlights but it's not. The highlights were looking out for it Does medium controls try not to be too straight here in application. If we look at the the way that we repair the image, you've got some really interesting in Dent. So we'll weave in and get those as well. When during these medium contours like so Okay, Never too straight. I personally like toe draw more textured, curved lines and and pass Okay, so again it's gonna run outside here. Well, I'm actually going to do because this would actually create a shape. What? We're just gonna go outside of ourselves. So basically, where during going inside out, if you will, Once we've gone out on around, We could see the shape is slipping back inside. So there's a little gap here. I'm not gonna draw that. At the moment. I'm literally going to use that part fire in this election again just to subtract any shapes I'd like to subtract. I'm not gonna go right to the edge. I'm actually just gonna Joseph, interesting shape. Just, ah, create offs. Offset of a highlight here around the lips on the mouth. Okay, Andi. And then I'm just going to come around the tea. There's a few gaps, CEO, so I would just draw those in a few highlights. But for the most part, you know, those is not is minimal, especially for the medium contours. I am not going to come inside and just display this highlight here. So around a above the upper lip, Then again, if we look at the nose, we can see we've got some definite highlight areas. So we're gonna use the medium contours again. Just we've inside, like like, so draw those in. All right. And that's how we're tackles at the medium's getting contours. Now, come back round, complete that shape. I don't have to be to exactly between the lines because we are going to draw layers above the medium skin contours and put capacity up to 100. Okay, Andi, we're going to do now. Turn a go from McCullough. 30 k Valley toe 45. Now we start to see in the first evidence of any sort of lightness, All right, in regards to the additional shapes were going to use the part. Find the talk to subtract those. So I'm actually going to move them on top of this medium skin contours. Okay, Now, we're gonna look at creating a new that I'm corn in it. Dark skin control. OK, so we're gonna set the dark skin contours to 60 k value. And now for the dark skin contours again is just going to concentrate on maybe its nose area here, give a quick evidence off how? Look just to remind herself where we were. Okay, I'm gonna come at the top here. Put capacity to zero, actually, just drawer in. Like so what we get in the second case areas. Okay, This is where we really start to hone in on a bit of this shadows. They get shapes is interesting and expresses of it as you can. So when the on looker looks into them, they can see is a multitude of detail. Okay? And like you say, this is where the energy stars is where we can't get energy and vibrant again. We're looking at really this line here, so I'm gonna flip inside out, like, so draw these lines, implementing some slight gaps as well when needed. Kind of the Definitely going to come along this area here. Okay, I'm just gonna cut back at this point, cause this is just to give you an idea of what it will look like. Okay. And then we're gonna gonna enjoy these, So yes, especially in their inside. Ah, so we're looking out for those contours that's gonna weave in and out like so? Okay, well, I'm going to do is not really going to go on and finish the darker mediums. Gin, contours, Mona, pause the video and then come back so you don't have to watch me go through the whole process. So we have now done the medium and dark skin contours. Looking at the color values. The medium skin contours, as we said was 45 K value on a dark skin Contours is 60 k value. Look at where we've drawn them. We can see, especially with a bid. We're getting the nice stencil detail building up here. So take away the dark skin, contours and medium. We've got the dark. We can see that we've deleted from these areas and got those details of stubble. And then again, that's even more in hearts with dark skin contours. Okay, at 60 k value. Okay, The next step we take away the visibility is to do the darkest gin contours around in areas of the neck, around the creases of the nose as well. And then sort of in the fingers ran a darkest areas that will finish off that look we actually did over color value of 80 K and then we're going to look at the highlights. Okay, so I'm using the process that we've used highlights is gonna be 10 value, and just to show where they are, the highlights are gonna be finley on the nose. Maybe a little teeny bit on the TIF. Definitely around these areas of the face, these white ish pinky areas, we're going to have the highlights There's gonna be a lot on the the left hand here. OK, a little bit minimally on the on the right hand as we look at it under the left hand. Okay. Indefinitely on the right fires, We look at the image. What we're gonna do is go on through the process. Now to the medium skin contours and a docking contours. Gonna add the darkest skin contours. And then we're going to do the highlights on in the next lesson. What we're gonna do is a vow what we've done, the value it will be done on. We're going to move on to do the actual kit, but we're gonna introduce him new tools such as the pencil tool. 5. Illustrating the Sports Kit Part 1: Let's start by assessing the darkest skin contours and highlights of resentment. We'll just have a look at the face here. We can see that we now take away the visibility of two layers, got the darkest skin controls around the nose, the shadowing area around the Teague's outlining the lips. 10 areas. So if we cook on the visibility on in a way, we can see adds realism along with our highlights, if we look at the highlight areas and also, if we take a quick look at the hands as well, we could see that we just added extra dimensions of detail to finish off the look case. And now what we're going to do in this lesson is look at drawing the kid. Just get a color palette here. We're gonna move from going to move from a grayscale color scheme to see him like a so in your color palette to check to see mrk cause we're moving on to the color elements. Now we're gonna use the eyedropper to build up the kit. Okay, so I just turn on the visibility here. We got a kid base moving on to the doctor kit areas and then we've got a highlight base. Ultimately. Just have a quick assessment off that turn on the visibility of our reference layer. So if we were to break it down into stages is very similar to what we've got with the control. So we're going to start with a base blue If I hit eye for eye dropper when we select a color similar to this, I've already got my base blue. But this is what we'll do. We'll get this base blue drug of interest. What is palette? There's a kid base blue. Then we'd be looking out for the darker blue. So around out out areas and I've got a kid darker blue for that, okay? And then for the lighter areas again. And then we go on to do the high life, which I have not done yet. Care now is the process. So what we're gonna look at doing now is drawing some stripes. Okay, so if we look look at Assessor Stripes, we're going to draw some stripes of the pencil tool. So we look at the stripes area, we can see their turn on the kit base blue. What we're going to do, draw two layers of stripes. So we're going to have the kid darker blue on. If we look, turn off the visibility we look at the image you can see doesn't even darker blue just here . So we're gonna do a few stripes for that. Just around minimally around here. Also get a strives within the middle. Yeah, we're going to select the kit. Darker blue is as a color. We're going to need to incorporate create a layer Cool kids stripes Select End for the pencil tour does not have a quick look at the presets In past versions, the accuracy of the pencil tool wasn't too good. But now we've got really good accuracy with a pencil tool. Fidelity means house move. You want your lines to be or how accurate so literally or go along with any jokes you make . If I put between al crea, we could see if we zoom in just going to select this color. Plato a stroke. You see, Zoom is not completely straight. There's a bit of wavering of the control points, but if I now just double click on the pencil tool presets and we played to smooth and I cook Okay. Now, if I draw something, it really Smoothes it out for us, okay? Gives us some really smooth shapes, which I let a bit too smooth for my liking. So what I'm going to do is I'm going to set it in the middle. But I see how you go. I'm using a welcome tablet. You know, my baby A very it for you. We're not gonna feel new pencil strokes at the moment going to keep it selected on we're gonna close past when past ends within 15 pixels and we're gonna edit selected path. We're gonna keep that check. Okay, so there's your presets. Got a kid darker blue here. What we're gonna do, use the pencil tool in a combination with the whipped. All I want to draw a stripe starting from here, Going all the way down something. Zoom in a little bit and a good thing with the pencil tool. It allows you to cook. When you get that minus sign. You can keep going with the ship, like, so along. Okay. And we're gonna calm down here. That's gonna draw that. Okay, So what we're going to do is just added the whip off in certain places. You got kids stripes return a visibility on in a way. So we want to make it a little bit thinner. That's up in most cases. And the bottom also, I'm literally just going to come down to the bottom, so I'm gonna select the for selection tool. Really? Quick, select it. Now, we're gonna go to the pencil tour again, getting ah minus sign and is complete that Now, if you want to make any adjustments to the actual anchor points as faras positioning say, if I wanted to So over just here, I'm just a little bit off point. I'm just gonna select a off the line. Is that a first direct election tour in it? Hover over the ankle point. They just moved over slightly. Okay, Now I'm actually going to hit shift and w for the whipped. All on. This is where we can have some fun and just play about with the thickness in certain areas . Once you get a circle, zoom in. Once you get a circle that tells you that you can play with the whip. So I was gonna make that nice and thin here now going to come to this point. See, there's a plus sign is gonna pull to the right. Just increase the size there. OK, so now what we've done is to change the whip to do that again. Just here. Just make it a little bit wide. Ah, on here. Okay. Just in the middle here and now, Just gonna pinto a pinch just to be in a line with the actual creases they're on. Just make it a little bit thick when we come to the bottom here, Just gonna fit it out slightly. And there we go. Now we look at the line, we turn on the visibility, we can see that we've got nice, really realistic line that we've created or striped. But we've created there with the pencil tool as that you select your Sam. Why kick colors using the eyedropper tool and also how you draw strikes with the pencil to and adjust them with the whipped auto? Add realism. What we're going to do is finish off our strikes in between lessons off the darker blue, and we're also going to add minimally some strides with the pencil toe is the guards to the darkest blue, which we haven't done yet on. We're going to then go on to look at drawing the highlights off the kid in certain areas. 6. Kit Part 2 Making Realistic Gradient Blends: Now we've gone on to complete our stripes using this color here The kit darker blue. We look at the kid stripes, one minimally done their kit darkest stripes as well. Also, around these areas, we're now building up more detail and depth for the illustration. And if we zoom out, we can see that the realism is increasing the next step. As we said we was going to go on to add the vibrancy to the kit, you got to the light of blue areas of highlights These blue areas here with the highlight blue I've got a layer your title kick, highlight Blue. So we're going to look all the other layers and this is where we're gonna start that process. So let's just turn off the visibility of layers beneath and look at the kid. Highlight blue. So it is quite a vast area. We got a kid light blue in front of it. There actually just missed. They know area better, but that's fine. We'll fill that in in the SEC. I'm just gonna concentrate in a small section at this point. OK, so that's in a kid like to be making sure there is a field color. No stroke as per usual. We're going to do some Grady in blending also but selected kit light blue just to get the color there. Keller values. All right. Excellent. If you wanna follow along using exactly the same color but literally has come along with the eyedropper tool. And that's how we got our color here. So I'm just gonna feel like the color I've watched. Okay, let's go To let people Pimental were concentrated around the elbow area again. Just remind ourselves where we were. Case I was create a little bit of texture. So now pastiche zero again, I'm gonna do a little bit of weaving in and out to create some nice textures, never being too straight. It's along this area here like so Okay, now, just going along the edge We can see that the lighter blue doesn't really go right to the edge. We've got few creases, so we're just concentrate in this small area just here. Andi, we're going to extend our shape. But just for demonstration purposes now include a little bit just up here. We could see the offset. Wait, guys lightened up, okay? And we would continue up I'm actually just going to end it here and just add to the shape. All right, So gonna put the capacity up to 100 at the moment. Just see what we've got. Okay, so we've got this for blue. Andi is good on is adding some vibrancy, but just in guards to the edges of the transitional areas, we would stretch this all the way along. I just want to show you just how to blend these colors. We've got the highlight. Blue. Well, here, we got a kid light blue. What we're going to do, Just get Grady int open up the radium palette. Are we in inside radio a radio grade in. We're gonna have the kit light blue on the left, and we're gonna have the kit light blue, which is obviously this Carla, You can see it fades out. Okay, we're going to do now is get the Grady and annotate er open. I'm just going to stretch it out and reposition it slightly. So put a slight rotate on it when you get this arrow sign with, that means you can rotate it. So we're just going to rotate it like so? So it's in the line with the shape that we're drawing, and this would obviously stretch out fervor. And now what I can do is I can just pull it down slightly. I could pull it up. I could put it down, which increases the blend. I could just pull it down to that position instead of dragging it out. Like so. So we have a look. Now we can see that is a nice grade in and what we can do. And that's great in that true transitions into the light blue not too soft or not too heavy . Just want to make a quick alteration in regards. Teoh, the whip for vets. I'm just going to make it a bit waiter, but it's dragging this out like so. All right, just making a bit wide. Ah, but then, ultimately, that's a nice blend. And that's the kind of look that we're going to go for in these areas in regards to the later blue on. We do the same with the kit here, so I've got a great base color. I haven't actually switched it yet, so over the past, it and they're gonna call this kit Dark gray base again. It's the same principle. Create new land. Call it kick gray highlights long. You know what it is? Okay. And same principle will apply with select certain areas We may well need to use. Ah, like to control on the lightest controls. What? Our dues are set to the base color. Then select another color to go on top of it. So So medium ish. I've been a swatches pilot. According kit light a gray one can't light a gray one. Let's concentrate on the tool. So airy here. I'll just quickly draw this shape, paused the recording. And then once I finished, Come back. Okay, so we've drawn the shape now on. And obviously I did it with the lighter blue color is gonna familiarize ourselves with what we're referencing from. So we got this lighter gray here. Right? So what we're doing is creating a basis for it on which we can place more highlights on. So again, we have a look at the shape. It is lighter. In this area, there's a darker pat. What we're gonna do is have a lighter base, a darker area just round here again and important. Some more highlights on top. So we just have a quick look at how well a minister that s o we're going to create a new Grady int. I will say this Grady in tow are sort his pilot. And just name in a second now gonna create ingredient. Would a lighter gray on the outside. We're going tohave the base gray. Okay, That's just to give us our basis. We want it to be coming out towards us. So we'll get a radio, Grady. And again, we're just gonna shrink that down as we say, Andi, Now push it up slightly. Now, we're just going to pull out from the edges, like so Okay. And then maybe just shrink that down a bit. That's gonna be our basis. Highlight Right there. Okay. And just remind ourselves how the reference goes. So the light of points Here, Here, here. Ah, OK, so just one of stretched it out a little bit more like so. And now we have it. And then what we're going to do is will add some light areas here, so I'll just give you an example. So I've got a great highlight, okay? And we'll call It is a layer light is gray highlights again. It's Ah, is there is a method. So now we're going to just get the eyedropper tool and just select one of these graves here . All right? Like that on. We're just gonna call this lightest gray highlight. Lightest gray highlight. All right, so we got a lightest great highlight is gonna come along this area. Now we need to be quite tight with our application, because we really have. Now we got a blue underneath, so Ah, this Just look where they every race capacity to zero great shape. Bad. It goes along those contours like so I need to wear Gonna created the logo above there. So those strips is flying, we just concentrate in this area. All right, Onda And we're putting capacity up to to 100 just do some blending. So the only really needs to add a bit of shine to the left, Gonna have the lightest gray, and then we're gonna have the light of great to the right Gonna blend it out so it looks realistic. Okay, we'll make the inside a little bit lighter. Okay, We would do to get the grade Ian annotate are just reposition it. We got nice, like was a slightly darker to the edges off the shape and rotated transparency down of the actual path here in Grady int, ultimately down to around 60 75% McCain giving us a nice really stick radiant shine on. We can alter that as we go on. So we look at the reference, so yeah, we got nice shine now we could even increase that slightly, remembering that we're gonna have that white shape. They're just coming on around 85. 0 80 should be perfect. And that's how we'll create the highlights for the kit. All right, so for the most part, we've got enough skills developed now to complete the illustration In regards to the logos , Onda shines on the helmet. We're gonna use those techniques we've imported. The only main area to highlight is actually the helmet glasses. So that's just do, man, it's gonna turn off the visibility and just have a look at the reference layer. There's a few things to know. I'm going to keep on the lines and shadows layer in regards to creating it is gonna be two main colors as we actually have a look at it. So gonna be this main yellow here and then we have this seconds or orange color, which we're then gonna go on and draw the dark controls and maybe darkest contours on top of very similar to how we create the skin contours in that faith to create a more apparent evidence off transparency. If we look at the contours around here, we would need to maybe just reduced the opacity, okay? And that that should convey that for us. But not to worry will go for in the next lesson. Just to note that the Venus shadows and highlights layer, We have these shapes here we're gonna want to adjust to maybe put them with in the helmet glasses layer that you create. I'm just going to zoom in because there's a guy sort of brushstrokes there on editor border guards to color until we expand them. So what you need to do is go toe object, expand appearance. Once you expand the parents, then you can just change the color as you wish. So I can change that to a dark red, for example, on basically, that's what we will do for the brush strokes, so you can do multiple a time. Just select the mall. Just go object, expand appearance. And then you can just simply hold down shift, select or the shapes that you want to include into your into your helmet glasses layer that you create on just literally go at it cart and then edit pace in front. And that will put that in position for you within that layer, just for example. All right, So ultimately, we're gonna go one night we saying, complete the illustration. Portion part one off the class and guys to the bike again. Minimally, we're looking at minimal detail. I'm just literally looking at put in. Maybe a grade in here symbolized the leg on maybe an outline stroke of a lighter grey and just a little bit around the pedals. Also, we're keeping up very abstract. So when we move over to do Part two at an energy and drama in photo shop will ever a lot of cool options. There 7. Producing the Helmet Glass & Illustration Review: Okay, so we've now gone on to finish the illustration on Just have a quick review. We can see now that we've got all the logarithms Nice shines on the helmet in the kit is where's lace stockings? Building up. The old areas were built up the skin contours nicely based, medium dark contours. The same very much with the kids. Well, it was started with the base balloon, the blue areas. Then we went on to do the darker blue on the highlights. We've now used that technique to really build up realism as well. There's some Grady in blending. We said we was going to just quickly assess the how many glasses. And if we have a look at them, we can see all right, we said there's gonna be a main shape. So that color here is basically the orange glass base. Okay. And then we got second color, which is ultimately a Grady int onda that start 100%. Most of the shape still are really capacity. 100%. Think this shape here. We took down to 68% for example, on we've gone on to expand the brushes and and the shapes that was in the highlights and shadows layer just so we can we can edit those colors. Okay, so that completes the illustration section of this course. I'll be very excited to see what you guys come up with. The please Post Any sports illustrations you do in the next s a miraculous cross over into photo shop where we will start part two where we'll add the energy and drama. So we're really going toe get very suggestive. Take the illustration to the next layers. Firas mixed media elements Shall we movement, energy and drama. 8. Adding Swooshes to Sports Figure: we have a look at the cycle is here. Just zoom in. I'm going to look at the point of motion. So the main point emotional we look at is the sense of direction we're going to inject were splattered, swishes and textures can have so much more energy and drama in a piece by adding knows points of motion and energy. For example, this previous illustration I did off David Ortiz. We can see the energy and drama been ejected with the textures and then the splatters. So that's what we're going to do in here. But in a different light. When we look at the points of energy emotion just going to get some arrows drawn a sense of direction, we're going to try and convey just gonna so that be for brush tool. Make it a bit thicker by him. The right bracket key is this way. Okay, So a sense of direction, motion and energy points definitely are going to be in the wheels. Okay, so, around the pedal, where is the whales? Okay, this is where we want to inject energy, emotion, the legs, because the legs of rotating and arms are keeping everything steady in control. So So here these air. So some of the main point. And so the arms which are going to be moving is well, it's off torso area. OK, so these are all the points where we're gonna add our energy contact points. Okay. Just ah entire that energy as way injecting these in will be shorter toe hit those points. First thing I'm going to do is actually add some abstract to a team of guards to swishes motion. Okay, Just goingto get the brush presets. So we're gonna have a brush around and say nine pixels on. Make sure the hardness is set to zero. Does our ordinary default brush make sure you're gonna have the always use pressure for size when went off Brush presets control. So basically, woman do is open up the windows over not to brush his window. We can see now we've got that check because you get a nice, smooth brush. And that's what we want when we uncheck it. Heres a morsel of rounded edge. And that's not what we want to make sure we've got that collect. Okay. And all will be an apparent in a second. So I'm literally abroad the energy of just turn off the visibility and create new land. Call it swishes. Okay. I did do was calm in here so that I drop a toe and get that orange from the actual helmet off the mocha cycle. Motorcyclist, zoom into this arm here, and this is gonna be the first wish that I create. Gonna go to the pentacle p for pencil and literally just draw. So I wish Motion. I'm just gonna bring that over over bits. 90. So we're just gonna come along, just create a nice wish, like so? Okay, we're going to right click and clicks trope off. Make sure the tools to brush, and we're gonna check, simulate pressure and click. Ok, All right. Now, I'm just gonna back space a few times when we see we got nice wish there. Okay, We're gonna do the same. The left shoulder is we look at it, but this time I'm going to make it into joint onto the handle buys as we say. All right? And then I'm just gonna right click, click, stroke off and click. Ok, All right. So basically, what we're doing is we're building up a little bit of Ah, nine And Mr Thiam Emotion. We're going to continue this onto the handlebars as well. I was gonna start around here for this one. This is the handlebars. Gonna make the brush a little bit smaller. So gonna hit the left bracket key. Take the brush size too. Eight or seven pixels dependent. Now gonna go back on to pay for pencil. Just come along. They're here naturally. Ages Zoom in craze drop off again. Like so on the right click. Okay. And then again on the left Handlebars. Well, and that's how we're literally going to build it up so we could add that around to the back area. So just be eventful and playful and just be sure to just add motion and drama. We can even create a new layer. So we call that swishes orange and then create new They are. We'll see what color would come up with here. So we're going to create a new set just on the helmet here. Just a little swish. Uh, stroke off. Okay, so that's orange at the moment where I can do it. Just double click on the layer. Could color overlay and just change it to maybe solve a light blue, like so Okay on No, you have it. So just be playful at a few more. Maybe around the wheels, a little bit. And that's how you add swishes toe inject the first sense of energy and drama. What we're going to go on to do in the next lesson is actually have a look at incorporate in some more energy emotion with some custom splatters, one of my custom splatters and also some cool ones that you can get from textures dot com. 9. Applying Splatters: Okay, so now we've added our swishes. Before we go on listers keep organized and put them in a group folder. Just hold down, shift, select both players, and then click the create new group folder icon. And we're gonna call it swishes for excellent. Andi have basically just kept a light blue swishes or there's one light blue swish and orange switches on one lamp. If you do decide that you want to move him, it'll weaken. Just group. Maybe grab the last salto on. Make sure you select that lamb reposition and if you wish Okay, so just moving on now. Got this sim splatter, which have included in the course we're going to inject those points of motion that were talking about earlier. So if we put back on the energy point on, we're gonna focus on this area here, Okay? I'm just going to select the bottom splatter Blatter layer free. Drag that into the file at this point in turn off the energy. They are all right? Yes. They're gonna put this platter below the cyclist this Rotate it, hold down if we want to edit it and make sure we hold down stiffed people the proportions. The same we're concentrating on is having like that motion, I would say pointing forwards. Okay. Make it a little bit smaller. Like so. Just gonna pull it up. We make it survive it small. I like this area here where we've got the arrow and then under lap. We're gonna tweet that in a second. But what I like to do in these kinds registrations is keep the color scheme to a minimal. We got the orange swishes we're going to again draw from the kit. It's actually color are splatter here, so I'm just going to call this under splatter one. I was in a double click on it to give it a color overlay. Yes, A cut overlay is going to be so the highlight. Blue from the kit Okay on is gonna zoom out. Now, what we'll need to do is tweak it a little bit, make it a little bit smaller. I like the little under lap area here. Let's zoom in. Okay on. We're just going to go ahead with that now. We're going to select their raise. It'll just a tidy it up a little bit. All right? So I'm just gonna exhibit how you tidy up, OK? So many of these splatters not really going to be keeping in the fold suddenly. Well, suddenly word is good to have a bit of confusion and energy, but some Sometimes I find it is to too overwhelming. So we're just selecting a normal brush at this point for I razor will make it slightly bigger. I will put the capacity up to 100 which is just just clean up, especially under here with clean these up. So we'll have some splatters, but minimally. Really? Okay, so maybe a few It's going to go back. We're getting rid of the supplies. Still have a bit of method to it. Okay, We're going to maybe tidy that up as you will. Okay, Well, you'll find these. We can go on and use this platter again. So because of the way it is, got this almost shooting effects. But we're going to put one over actually above. That's the above our cyclist here. But this time we're going to change the color a white color. OK, I'm going to double click on it and select color overlays the layer style, and I'm just going to literally with the eyedropper Select white. And we can see now that has taken away from our cyclist, if you will. So there's two way to do. This is a non just just destructive way. At this point on, we're just gonna play about with the positioning. What I'm I do put right at the top. I think it so I'm going to press the shift control and ah, right bracket. And that brings it to the very top layer. Just gonna play about with a position in a little maybe also the angle. Okay, that angle is pretty good. No, you have it. OK, And again was just going to duplicate that and maybe look at the wheels here. So we're going to start at Cem. Some drama to the wheels also. Okay, So this is basically how you use one splatter tojust really add quite a bit of drama tidying up as you go. And again, I could just keep duplicate in this Andi, even here, I can just flip it again and create a sort of a double overlap just here. Okay, at this point. So that looks pretty cool. Just bearing in mind if you only when it's overlap recyclers and not go much onto the campus. What we can do is press option and click on the icon of Cyclist. Then go back to the Sparta layer that you're wrong and press inverted selection ultimately . So we'll just go shift control, command I and then hit backspace. And now all that splatters is just that little overlap there will de select. All right. So again, with your image, just play about with splatters, reposition and tidy up as you go, um, using a brush tool. Or you can also use the last your tool just to select areas and backspace them in the next lesson. What we're gonna do is incorporate another splatter to add more energy and drama to the peace. 10. Applying Splatters Part 2: So we continue in tow, work up the image at him or energy drummer emotion just put everything in group folders again. So we got the over splatters. If we open that up for the most part of God's, all the right leg entitled Their front wheel, we could see was added minimally some of the streaks to the front wheel, which looks pretty cool just again. Just playing about moving and brought in the right positions, bearing in mind our energy point. So you know, we're hitting quite well. Now there's a few more that we would like to add in there, but for the most bar, it is coming along pretty well can introduce a new splatter now. So this splatter taken from the taking of intakes of dot com and you just follow the link and you'll be out to download it, just needed to sign out to textures dot com. So this is display here, basically to give you an amount of free credits of just downloaded it in a medium size, we're gonna bring this texture in now. So what we shall do is duplicate the bomb, their background there and turn off the visibility of the background late at this point, I'm going to click on a duplicated layer. Then we're going to go to channels. We're gonna look for the best channel option. I mean, no, pretty good. So I just load that as a selection, okay? And just kick back RGB on. It's gonna back space from the image and just diesel elect. And now splatter is ready. Okay, so we're going to drag that on to our image here was gonna put above, but above the over splatter one over folder, which I've called it. We're going to call this a spray spray one. What we're going to do with this is create spray effect. OK, so is this going to I'm actually going to do a little bit when we change the color of the under splatter to the same blue Because we have in the kit here. All right. And then I'm actually going to change this Bray the highlight Blue to the highlight blue that we had on the kids. So I'm just going to double click on it. So let color overlay again. It doesn't make sure it's toe the same blue, the same highlight blue. There click. OK, now we just need to reposition it. I'm just gonna go into full screen mode, reposition it as so to stretch it out a little bit, like, Okay, we're just gonna flat on it a little bit. Just have it. Spraying out from our cycle is light as a real cool effect there. It's gonna flatten it down a little bit more. Stretch it out this way. Okay? And I saw you get so spray effect is going to take a fair bit of tweaking. No, we got ah, mass mouths spray here. So I'm going to do is to change the brush. So we wanna brush. Were there's a bit more rigid. Okay, trying illnesses like this brush spare, full 46 pixels. That's where the robber race. I'm just going to come in, zoom in and just decrease the size and just have a way a fair bit of Thea splatter here. So we get more of a staggered effect, okay? And then when Where we're happy with that, we can just go on. So I mean, it takes a fair bit of cleaning up, but we don't want to get rid of too much of the drama so is bearing in mind when we ah, clean it out. We don't want to overdo it because we wanted to still keep the same. So you nivel form streaking. So if you kind of just brush like so so the edge isn't too It isn't too straight as well. I was going to go back there you are A good idea at this point, is just Ah, just go back to the rounded brush, increase the size, reduced the capacity right down and just come along the edge. Just fade that out. So it gives it a gradual fade black. So okay, And then we can reduce the size as as we wish. So I would take a fair bit tweaking Zoom out and every once in a while, just to see how we go as a nice streak that we've added there and again, we can do this and other areas. Okay, So color overlay at the moment is the light blue right? But we can change that. For example, we can come into the arm. This is another one of the This is another one of the energy points. We can change our color over later white. Or like Gray. Okay, so we changing our car over later white on their certain amounts of that spray that we we want, Ah, two key just with the brush. I'm gonna increase the capacity, not incapacity to 6%. So increase that lightly and just just, uh so it fades out. Okay. On either side, we could see thus adding more energy. And it's just about picking your points again. What could the energy point? Yeah, quite well, Quite a create their on who couldn't even do some more work. So, I mean, that is ultimately a cool technique. We don't have to be. We don't have to be Costco and using just a certain color or sentence brain certain areas. So again, with the wheel, we could even come here or just in here. But it has to make sense with the composition. So there's about literally just exploring and having fun here. So I like this this bray on. I want to incorporate it in this area. I want to use the same color is what we've got on the pedals. Really? So I'm just gonna go to the color over there again. I just use that there may be no chin up a little teeny bit. All right. Ah, get some pedal sprays because the pedals definitely one of the areas where we wanna add a bit energy and drama. So again, maybe the legs or spraying up No. Pretty cool and so on and so forth. So it's going to take a fair bit of cleaning up. Yeah, Once you pick your points, you wanna no overdo it over, Sell it. So definitely with these sprays. Now we're going to just put them into a folder and just call it sprays, just tweet them and refined them. So basically, even this spread the top. I'm just kind toe even exhibit the shrink that down slightly percent and reposition it. Do a fair bit cleaning up what we've done there so we can see that we've added a lot more drama. And again, it's all about picking your points on what we're doing. The next lesson start to add more to the backdrop as we look to wrap up the illustration 11. Employing Depth to the Composition: we've moved on with the illustration added more splatters on dis really beginning to take structure. We've tidied up our splatters for the most part in our sprays. Just a quick thing to show you guys to the sprays have actually added a spray onto the glasses of the helmet. So it's gonna hit his head and scroll up to zoom him. We've got this bladder here, which is working pretty well, but it just needs two curves lightly. So what we're gonna do is use the rap tool so we're gonna go edit, transform rap. Andi was gonna zoom that one. Do just get this two curves. I'm gonna go to the corner here, just pull this up. Can see it's already beginning to curve along with the sunglasses. I'm just going to come here and just pull this around. Just gonna curve that round also. And just here is well, right. So we got a nice curve and we can always alter it with with the toggles. I'm just gonna cook enter now, So we cook away and now we can see how we've just changed that it's a bit blocky around certain areas and just going to select their arrays A tool. All right, so it's selected this arrays of 39 here, it's gonna zoom, and we're just gonna decrease the size of vet to around 10 picks. Okay? And again, maybe, And just break it up slightly in a few areas there. All right about being too regular and als around here. Just the break up the splatter a little bit. There's not too blocky okay, everywhere. Just if you want to get a bit more detail just again, just decrease the size of it Left bracket key, as we've been saying, Ah, now we go. All right, so now we're going to look to add some depth. If we look at the competition, got very much a blank canvas, we want to add some more depth to increase this with sophistication, emotion, level of the illustration. So we got this bladder here. I've already just double clicked on it. So is now a creditable left this minute so we can see this force bladders A nice street to it is what we like to dedicate a the background land. I got two channels. What is black? We keep what is white is gonna be erased so we can see here We've got a nice contrast. Nice streak in the blue and the green Almost identical channels look so much will use a green, but we just want it to not fade so much So it's gonna hit l to adjust the levels and just bring the right side up okay, to about 27 just say, OK, now I'm just gonna load that as a selection. All right, now, going to just click onto the background land, turn off the it's saturated layer. So before we come back over, just make sure we click RGB. So we got all colors visible, and then we're going to come to the bottom layer like we say, Just hit backspace. Okay? Not going to de select take this platter and place it within our file. Okay? Excellent. Now it's currently in the sprays. I'm just gonna take that out. We're gonna put it to the bottom, just below the under splatter one. Okay, um, one does a stretch it out through it. It out a quite a lot. Like so. It is about 40 centimeters wide. They could see it's a creating a streak effect, which is, which is cool. She'll put it on an angle of around 15 so recently that we hold it on shift. It gives us a straight angle. If we look at the angle icon, a window that just come up with, just press enter and you're just going to take interest. Position it here. All right. The first thing really do need to do is just alter the color. I'm actually gonna go for gray, so I'm going to use, like, a safe from our palette, going to use the gray from the medium skin contour that we created. Okay, I'm gonna call this splatter too, though. Okay, We're gonna put down a bit now. We need a craze over basis for the bike. Now, just gonna hold down, shift in, rotate, rotate. Say that and we get a direct rotations of the angles. Nice for us. Okay, Turn on my over splatter there. OK, now, gonna take that splatter, duplicate it and just put it on edge here. Well, I'm going to do it just now. Flipped that background until these air to into joining you. We can see we got almost a rush effect. Imagine now. So it is nice if you can create little gap sometimes. But what I'm gonna do is basically just build this up instead of Ah, you. What you me do that? I'm going to pause the recording, finish this off and come back to you on the other side. Okay, so we build up the composition quite well. Just need to make some tweaks and a few notes. So if we look at it, we can see we've got the motion swinging through the stabber note we put put these matters all in a forward a here and just called it under spotted. Great. Matt, you're gonna duplicate a few of them just to add a bit more drama and create some overlap. I'm just going to take us bladder. Maybe this bloody Here, take this square and just duplicate it and send it up to the top it over. That's pretty cool, E. I'm just gonna place it about here having ups like the like. So you're right. That's the 1st 1 Okay, Now I'm just gonna duplicate it again and just pull it over. But I'm gonna actually set You said the color overlay to a white. Okay, just offsets here this angle, I'm going to make it a little bit smaller. So just hold down shift, get my diagonal icon like so And that's gonna bring it around here just to add a bit of a dramatization. Now, we're actually just going to get into razor larger razor. This is what not 1000 pixels. Take down the passivity and just you're okay across we can see is now overlapping over there the splatter as well as a cyclist name. Okay. And I'm gonna use it again. It is difficult it and just put it around here. So what we've got is got some more expression around the bike. OK? So I like what he's doing on this platter is not so much on the bike handles. So we're just raise that there on, I would click on away. We can see we've got more of a contrast again. So ultimately, we're going to do is look at reusing certain area. Just add drama. Just have some fun and just play with the composition, all right? And, ah, with the sprays, if we take the arms Bray, I'm just gonna call this arm spray. I've entitled it yet. Okay. We're gonna I'm going to say the arm spray duplicated. And now we're gonna change the name to wheel spray. Little wheels, Ray. Okay, on literally. We could just use this to create a spray effect. We're going to double click on here. Color over later. Black. Okay, so the black of the bike hit. Enter an okay, where we can do here. Just greatest. Zoom in great s bray like effect. So it's sort of the gushing off off the wheels. Ah, so this just gushing off the wheels so that call that back wheel backwards Bray would just duplicate it may be Just flip it around. Just ah, Mr Manipulated. In a way, where has given us a different look on this Bray there like this. Okay, so I was just gushing, and then we can take that and using on the front will ultimately. So it turned out around again, and there we go. Just gushing out. We just called it front wheels, right. Maybe call it black spray. So we just tweak that up, make our final little tweaks here. Okay? And there we go. So we're just gonna change as we will. Gosh, it will go along the bottom. Also, he, uh And then well, just using a razor just to tidy up where we need to. All right. So basically, that is how you add depth administration and add a little but more energy with the extra sprays or what we're going to do it. Just make these final tweaks in between lessons of Friday's tidying up the illustration, maybe some of the splatters and maybe just fading out this area here on around here with the A razor. 12. Final Tweaks and Adjustments: just a run fruit of final tweaks and adjustments I've actually changed the background color , toe, light, blue As we know we've got all our under splatters in this probably here called under splatters gray, which is actually now sort of a light sky blue color. Literally. What I did was double click on the group photo itself. Add a color overlay, double click on a color overlay, Carli T c 31 m one and why one okay, And then if we move up to the free splatters that we've got over the illustration, I've got one blue one here. So again, I've added a light blue color overlay so that also to give us a blue contrast cause I think the blue was working a lot better than the gray. So we cook away because we got the gray Now I think of in a blues working a lot better. Other than that just made a few final tweaks as well toe any splatters that may have been overlapping just coming along with a soft brush and just cleaning that up. That is just a few minor little twigs that we've made. And in the next lesson, we're going to go on to conclude the course 13. Conclusion: That's pretty much the course wrapped up, just a quick recap on what we've learned. First, we learned how to prepare the sports reference photo info to shop. We then crossed over into Illustrator to create the sports portrait, combining grayscale skin with the color kit. We used a whole host of tools, including the pencil tool, which tool pen tal create our own custom brushes. Andi uses the Pathfinder subtract front function as well as great realistic blends with the Grady in annotate er. We then went back over into photo shop, where we finalize the composition on added energy emotion using a series of watercolor splatters. The techniques that have covered in this class are very similar toe techniques that I used to create sports illustrations of personal and commissions, including this added US originals illustration. This Andy Murray World Number one Administration This Premiership Editorial commission on this illustration of Novak Djokovic. I've really enjoyed it creating this class, and I'm very excited to see your sports illustrations