Wacom Design Sketching: Render Design Ideas in Photoshop | Marouane Bembli | Skillshare

Wacom Design Sketching: Render Design Ideas in Photoshop

Marouane Bembli, Design Professional & Online Teacher

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
15 Lessons (29m)
    • 1. Introduction - Course overview

      1:03
    • 2. Shading & Highlighting Creating our geometry and light source

      2:11
    • 3. Defining reflections and surface shading

      2:10
    • 4. Let's add a shadow to "plant" our object on the ground

      1:56
    • 5. Ellipse training Exercise 1

      0:45
    • 6. Ellipse training Exercise 2

      0:48
    • 7. Ellipse training Exercise 3

      1:40
    • 8. Complex perspective made easy - Key lines

      1:54
    • 9. Adding design features to our basic shape

      1:11
    • 10. 4 key steps to get any product correct in perspective

      1:08
    • 11. Car rendering in Photoshop using standard brushes

      1:59
    • 12. Why contrast is so important in a sketch

      2:15
    • 13. Design proposal of a flashlight - Ideation phase

      1:42
    • 14. Design proposal of a flashlight - Quick rendering in Photoshop

      4:28
    • 15. BONUS Concept Art Sketching Exercise

      4:04

About This Class

Hi, I'm Marouane and welcome to my class.

Inside, you will learn tips and tricks used to render design ideas in Photoshop. Use these techniques to build up your portfolio, create a new design project or maybe you just want to learn digital product design.

This class walks you through the process from early ideation doodles and quick sketches in Sketchbook Pro all the way to adding highlights and shading in Photoshop. 

You will learn:

  • How to practice ellipses and how to sketch them in perspective
  • The techniques to quickly get ideas down and render them in Photoshop
  • How to add highlights
  • How to add shadows
  • The basic tools used for shading
  • How to render a car from line work
  • To block out shapes and silhouettes
  • Why a light source is super important
  • How to add weight to your design
  • ...and a lot more!

By the end of this course, you will have a concept of a flashlight that you sketched in Photoshop.

If you have questions or something isn't clear, use the class discussion board. I'm here for you and I reply to everyone.

Also download my brush set here if you like to use it in the class.

Thank you for your time, now let's get sketching!

bf6c54ee

Transcripts

1. Introduction - Course overview: Hey, designers and creatives. And welcome to this course. My name is Mara Mbemba Lee. And this course we're gonna talk about the basics of design sketching and how you can boost your skills fast and easy. So we're gonna talk about the perspective, basics and how you can get it Lipsitz in perspective, right? And have some exercises for that. Then we're gonna jump into shading in photo shop, using simple tools to get the shading right from the start. And if you're into car design, you're gonna like this lecture is about rendering a car and Photoshopped using the same thing here. I'm gonna use the basic tools that you can do it as well at home. We're also gonna jump into some concept art and just have fun and Photoshopped not really think about you know, all the design and manufacture parts of that. And we're gonna finish the course off by rendering a flashlight from start to finish from the ideation sketches all the way up to the final render. And I'm gonna walk you through that. I hope to see you in it and take it easy, guys. 2. Shading & Highlighting Creating our geometry and light source: Hey, designers and creatives and welcome to this lecture. I'm super happy that you decided to spend some time with me today. So in this video, I'm gonna show you a technique I used to sketch highlights and how you can do the same and kind of just what to think about. And, ah, you know, some tips and tricks and how to get it right. So starting here in photo shop and I'm using just a hard, round black razor to get, uh, very, um, what, to call this, uh, not exciting shape, but it doesn't matter. We're just gonna use this shape to render and for the render technique purposes. So it doesn't have to be super fancy. So first of all, where is the light source? We gotta figure out whether light sources and in this sketch, I wanna have it coming from here. So we have the sun right here shining super bright, which means that we have three different surfaces here. 12 and three. Number one going to be the brightest to in the middle, and three is going to be the darker area. So I'm jumping in here using a harder sorry, a just a white airbrush and I want the edges on this. Whatever product that is in the shape it is I wanted to be kind of rounded and not too sharp. So I'm putting a new layer. We're done with surface number one. So now we're gonna do surface number two. And that that was going to be, if you remember, a little bit darker than surface number one, because the sun is directly hitting surface number one and in Ah, almost. You know, the angle is straight on, but it's not really straight f straight on on number two, which means that we have to make it a bit darker. So now we're gonna jump in tow, service number three, And that is going to be even darker than service number two. So something like this and I'm just using ah airbrush here for a raising and to paint 3. Defining reflections and surface shading: So here we have all the layers 123 And the sun is right there, up in the left corner. So what we want to do, You know, it depends on what kind of surface this is, or material that is. But I don't want it to be too shiny or two glossy. I wanted to be kind like semi matte, so brushed aluminum or something similar to that. So still using a tiny tiny airbrush here to fill in the where the highlights are going to be. So, for example, the edge between service number one and two is going to be pretty light or white in this case because that's the sun is hitting that that edge hard and the, ah, the surface number three. The edges around Service number three is going to be a bit darker than the rest of them because it's in the shadow area and the surface number one here is a bit rounded. So that means that it has a Grady int in its, um, in its surface. So I'm just using a ab rush for that as well, just trying out different designs here. If I want to put some features in there. Maybe, or if I should keep it just straight on boxy. You can play around with this as you like. It doesn't really matter in this case because it's just for practicing purposes. So right now, if you want, I mean, I could stop here and have it rendered. You have the idea of where the light is coming from and you see, ah, the basic shading of it. But I just want to keep going a little bit more and see if I can just play around with it. 4. Let's add a shadow to "plant" our object on the ground: still using airbrush. And once you're happy with the shades of each surface here, you wanna you wanna come at ah, and a shadow that which makes it look like it's it's not floating in the air. This this product is sitting on a surface, and that means that it's going to cast some sort of shadow. So the same thing here I'm using airbrush black Airbus for the shadow in a new layer, and I'm using a brush razor to defined the shadow. So I want the product to be reflected in the surface. I'm just putting a few more layers in here just to make it a bit more glossy. So on top of all layers, I'm using a few Maura brush layers. So here we go. That's that was a start. And now we have a one, two and three with the different different layers on top of that. Now, on complicating all layers into one. Using Commanche Command shift C command V, pasting everything into one later command V and using filter sharpened on sharp mask to sharpen everything up a little bit. And that's about its basic shading right there. I hope you enjoyed it and I'll see you in the next lecture. Take it easy, guys. By the way, that's a super ugly Smiley. I'm sorry for that, but it's all right. 5. Ellipse training Exercise 1: Hey, designers. And thanks for tuning in in this video. I'm gonna talk to you a little bit about how fun you could have by just sketching using ellipsis. So, first of all, how do you practice sketching and lips is Well, this is one of the ways you make one axis and you put the lips is in perspective. So the further down you go, the bigger the ellipse gets or the rounder it gets. And you can make this on any kind of axel. You can make the or access. You could make the access curved like this and make banana or something. Uh, it's ah, you can do maybe one or two sheets like that, and that should get you all warmed up and ready for the next step. 6. Ellipse training Exercise 2: So how do you get ellipsis in perspective and put them in a box? So let's say we want to make maybe, ah, it can be speakers or maybe a washing machine or something like that that requires us to put a ellipse on the site here. So on the surface that you want to scare the ellipse to go on, you make across from side to side from edge to edge. And then you have the center of their lips where the cross intersects something similar to this hope it makes sense. You have the four dots here where the Ellipse is going to hit or go through. And I call these extreme points So you go from number one two dot number two and then the 2 to 3 and three D forests. I want 7. Ellipse training Exercise 3: so you can use this. You can use ellipsis too. Pretty much sketch anything you like. I'm gonna show you. Hear what I mean by that? We can sketch, maybe a car. It's always fun to sketch. So I start with a huge ellipse I put down the wheels. First of all, the wheels are ellipsis to And the rims, they're going to be elliptical. Even the spokes are tiny ellipsis. So this is just for demonstration purposes. Gonna be a weird looking car, but this is just a show that everything has a curved to it. Whatever it is you're sketching especially. I mean, if you're sketching in perspective, everything is definitely going to be a curve. So we're looking car, but you get the point. I hope let's try to sketch a human using ellipses here. So we're putting out the, ah, the parts of the body using ellipsis, and then we just keep connecting these parts and we have a semi. Um, okay, you looking human here? He looks like he had a rough day, but it still looks. You can tell that it's a human and all I'm using here are lifts is so that's about it. And the point here I want to get across is trying to just use this as an exercise to use ellipses as your main sketching tool and see what you come up with. Thank you so much for watching, and I'll see you next time. 8. Complex perspective made easy - Key lines: So in this video, I'm gonna show you a an alternative on how to sketch in perspective. This is something I'll be using for a long time. And I think it's is working way better than you know, the old A regular way, which is this one where you put up a horizon line. You have a couple of vanishing points and you set the you get your perspective that way it works. I mean, that's what most of us learning school. But it's kind of slow, static and boring, at least for me. I wanna have I want to get right into sketching the I want to get get to the design fast and not just, you know, set up Ah, grid. So this is this is how I do it. I make I call this cloud sketching and it's kind of kind of weird, but it works. So you start by making a huge ellipse, and in this ellipse you're gonna have your product. Whatever it may be, this time we're gonna make a car. So this ellipse is going to be your reference point on where to put all the features of your design and the axles on this car could also symbolize the starting point. In the end, the point of your product. I fear if, since we're sketching a car here, I'm using those axles as, ah, reference points for where to put my wheels. So already we're starting to see that. See the design of this car and we can now put in features and start to design it. We also wanna have a center point, which is kind of important because that's gonna tell us how much ghosts on each side off the center line. It's gonna give us a visual of, um, it's just gonna help us with a perspective to get it right. 9. Adding design features to our basic shape: Right now, I'm just starting to put it, features into this design, and I'll make it a hatchback. And I'm still using the original Ellipse as my guide. And that tells me where to put all the features on this car. And I'm making a few section lines here just to explain the shape a bit more, especially if you're gonna jump into three D from a sketch. You wanna put some sexualized in there just to show the curvature of the surfaces and so long and I'm I want to have some interior there, like the steering wheel and stuff like that, and you want to keep you want to think about the line weight as well. So make the baseline, which is the line that's closest to the ground, that you want to make that a bit thicker than all the rest of the lines. That's gonna add some weight to the design, and it's gonna make the car look like it's actually on the ground. So, first of all general shape, we got that sorted out 10. 4 key steps to get any product correct in perspective: and we still have the lips in there as a reference guide. What we did next was put in the center line, and that's helping us decide how much of the cargoes on each side of this line. Third, we put out the axles and wheels. Those can also be the end, the starting point in the end, point off your product that goes in the Ellipse. If if you're not sketching a car, you can use those lines. It's a starting point and the endpoint. And as a final step, we define the shape. And this means designing the Corrine, adding features to it and make it as you want it to look like. And that's about it. That's an introduction to cloud sketching. I hope it made sense and I hope you learned something and I'll see you in the next course. Take it easy, guys. 11. Car rendering in Photoshop using standard brushes: Hey, guys. And thank you for tuning in today. I'm super happy to have you with me. So in this video, I'm gonna talk to you about how you can rent a car in Photoshopped from we have the line work already done. So I'm gonna render this and walk you through with the process. So put the line, work in a multiply layer and put that layer on top. That's gonna help us guide us where we need to put the shading and highlights. So I'm starting off with two strokes off airbrush one going this way and the other one going over there. And that's just a simple black airbrush that we put over the line work that we already have now from here, I want to start to create the horizon line that is reflected in the surface body of the surface surface off the body. I mean, sorry about that. So we have the lights coming from here shining super bright, and that will give us a hint on where to put the white and black airbrush so on the shoulder line here since its bulging And it's, um, it's a curved area. That means that the top. The surfaces that are facing upwards needs to be lighter than the surfaces that are facing side war, sideways and downwards, especially the roof, is going to be brighter, since it's since it has the sky reflecting in it. So the basics here are white and black airbrush, plus a hard a razor to raise whatever air but you don't need. 12. Why contrast is so important in a sketch: so if I mean right now, you could stop here and you would still understand the surface of the the surface of the design. But if you want to continue to keep adding features, that's okay. And that's what I'm gonna do. Here we have this kind of, um edge or whatever you wanna call it that's facing downwards. I wanna make that a bit darker than the rest of the body and this diffuser at the back. It's supposed to be some sort of plastic, and that's gonna be black where the exhaust are installed. Still using the same tools, just a blackout brush and a harder razor to define it. And for for this smooth transitions where there is a curve curvature I'm using A. I sometimes use a airbrush to raise as well just to get the smooth transitions. And I think we're done with the basic shading of the designs. I'm gonna jump into putting highlights now, and that means that all edges that are facing towards the sky needs to be brighter than the rest of the edges. I think I think a lot of people have problems with this because they forget whether light sources, and that's messing everything up. And it's it's very confusing to know where to put the highlights and where to put black and white and the shadows and so on. So always keep in mind with, uh, with sun or the light is coming from, and that should help you a lot when doing this. Also, you want to put a baseline, so the line that is closest to the ground should be thicker than the rest of the lines. That gives it a bit off. Wait to the car or the product that you're stretching. It looks like it's sitting on the surface, so keep that in mind and do the baseline a bit thicker than the rest of the lines. 13. Design proposal of a flashlight - Ideation phase: Hey, designers and creatives and welcome to this lecture. I'm super excited that you chose to spend some time with me today. So in this video, we're gonna sketch a flashlight. In the first of all, we're going to start in sketchbook pro with some Just make some cool ideas and, you know, some easy, easy Ah, easy going, sketching and just put some lines down to get the idea off how we want our flashlight to look like. And then we're going to jump into Photoshopped, pick one of these ideas and render it, uh, completely a photo shop. So what I'm starting with right now is just putting down a few designs off a flashlight before this. If you want. If you're starting a new product, you haven't really seen what's out there. You can just google flashlight concepts or whatever. Whatever is your working on to see, to get to get some inspiration, to see what's out there. Maybe you can take some some ideas from there and just modify them or something like that. But right now, it's not really important to get everything correct. And it doesn't have to be perfect yet because we're just playing around and having fun and sketchbook pro. And if you want, you can add these explanation arrows so that you could have some features that you might want to explain. So just make arrows and just right what it is the air was pointing to. It's also a good idea to make a least one side view just to get the hang of the proportion , the dimensions of your design. 14. Design proposal of a flashlight - Quick rendering in Photoshop: All right. So we picked this one and I kind of like it looks cool. So we're gonna go ahead and render this in photo shop. So we jumped into Photoshopped right now, I just wanted to delete all the other designs, so it's not distracting, and we're gonna have the light source coming from our viewpoint, Which means that the middle of this design or the middle of this cylinder is going to be white whiter than the edges. Since its rounded the shadow is gonna you know, the the mortar further to the edge, the darker the reflection is, and I also want to add some sort off rubber or plastic over molds for for gripping to get some friction or two. It's just nicer to grip rubber than it is to grip cold metal metal or something like that. So I'm gonna add that here and when rendering a photo shop, try to use you don't have to use super fancy tools I'm using. For the most part, I'm just using black and white airbrush. I make a few layers with a black our brush, and I use a hard a razor to define the the shape that I want. So everything of the airbrush that I don't need. I just erase it with a hard, round razor. And then I used I do the same thing with a couple of white layers off airbrush to Ah, just simple. It's a simple way to quickly just to find the shape of your design. And I want to cut line here because I want to separate the front part from the the rest of the design because this front part is going to be you twist it to turn it on. So I'm adding these grooves here to just visualize that it's a grip you can grip there and twisted. And as you can see, I'm not using any fancy brushes or something like that. I'm just using. I think all of these are, uh, cussed. No, I mean standard photo show brushes so you can just open up photo shop and try and do this yourself. And I'm adding some highlights here on the rubberized area. So now I'm gonna jump into the glass. And as I mentioned before, I'm just using airbrush and I'm using a harder razor to race the edges and the the airbrush that I don't need and make some reflections here on the glass. And I copy pasted the first Arab rush piece I did here to make to make it look like there's a thickness in the glass. And now I'm just using a white pen brush to make those make it look like, uh, the grooves inside of the glass are there just defining the rubber a little bit more. We don't says. The rubber is not is, ah, math surface. We don't want it to be too shiny. We want to keep the shading and the reflections very smooth and not too sharp. And to add the light here I want I want this light to be on some using a color dodge layer and a blue shade. And then I'm just using airbrush to paint the blue inside of the inside of the lamp part to make it look like it's on. I didn't like the green front parts. I just deleted that I'm using a blue tone all over to just get some color in there, using that in an overlay layer, adding some descriptions if you want so on off you twist the front part and that's rubber, and that's about it. Guys, I hope you enjoy this lecture on how to sketch and render a flashlight and photo shop. I hope to see you in the next lecture and take it easy. 15. BONUS Concept Art Sketching Exercise: Hey, designers and creatives and welcome to this lecture. I'm super happy to have you with me today. Now, if you like this course so far, I would appreciate it if you could leave a review. It only takes a minute or two. You can do it any time throughout the course. Thanks in advance for doing that. And now let's jump into this video. So today we're going to sketch a concept dude or a cyborg robot, and I'm gonna show you how I do that and how you can do the same using photo shop. So we start with the line work just a really rough idea of what it is that we want to sketch, so it doesn't have to be perfect at all. And it doesn't have to be. You know, perspective doesn't have to be correct. Don't worry about that right now. And when we're when we're happy with a lion work, we're gonna make a new layer and start to block the shape out using just a hard brush. Um, it's just a I'm gonna try and use as many standard brushes as possible, and we keep in mind where the light source is coming from. So in this case, we have the lights coming from the right side, and that's gonna affect all the shading that we're doing in this sketch. We want this. We wanna have a glass visor and the rest of the body or the material on this guy is going to be metal or something similar to metal. So kinda high reflection. And we right now I'm just trying to figure out what kind of features are one I want to put in these design, and I'm using hard brushes all over the place. I'm using different grace and different shades off white on black to really define the cut lines and someone I'm gonna start working on the visor here to define the outline of it and see what works and what doesn't. And I'm always keeping in mind where the lights are exists, so that's super important if you want to get the values correct, so keep in mind that the light source is coming from the right side here. I'm putting a few highlights on the edges of the visor. Since it's a highly reflective surface, it's going to have very bright highlights, so I'm using a a solid white fine tip pan just to put the highlights in there. And I'm using that on the body as well. Since its metal, it's still super shiny. And I want his ear to be, like, glowing or something. So I'm using a Arab rush a white airbrush to get some some kind of glow there. We're gonna add some color to it later on. And how you want this designed to be, that's completely up to you. So, um, what I'm doing this kind of sketches. I try a lot until I figure out what I what features that want to keep and what I wanna, you know, change. Since it's digital, he can do whatever you want and you can raise it or paint over it if you don't like it. So I'm trying to get a little bit more reflection here in divisor and and keep adding highlights with a white find tipped brush, and we want to add some color to this design. So I'm gonna copy, paste all the layers in here using. By doing that, I select the entire campus. I'm using shift Command C command V to paste all layers into one layer and I went into two into image adjustments in color balance. You can play around there and get the hue that you're looking for, and I finish off by putting some overlay color in the overlay layer. And that's about it. I hope you enjoyed it. Thanks so much for watching.