Transcripts
1. Promo Intro: Hello and welcome to this book. Cover the sign Cars. Today we're going to be learning how to make a young adult dystopian cover your land abounds techniques regarding photo manipulation, lining made painting and more in the brush it files. You find all the photos and I power for use in case you want to follow along the scars. So thank you for watching on Let's Begin.
2. I | Setting the Elements: So we start with a template. This a six by nine inch template. You can don't know it from the brush files. Um, this is the selection of images we're going to use for the book cover. All of these are taken from six. A very on splash on our free mission site. There's the least off resource is you can get them in the pocket. Files on. This is going to be our main image You saw, Protagonist, we're going to start by their selection. You'll notice that this finish us work up. Very poor contrast between the figure in the background. So we're going to use the band. I'm expecting you to know how to use this to this in advance cars, but in case you don't you basically creek and rock toe. Draw a Latin on this language. Later, become selection. You can see the small dots, have a candle when you click with holding the old key one of the off the handles drops under the Lotito draw another line that it's not going to be a car. So this a very basic tool on its some must to dominate. I am accelerated. This part of video because this is a very time consuming part off off the design, making a good selection on preparing a fever with no background. Here you consider Sabena flight. I am always trying toe draw the lines inside the figure not outside they were here. Is that if you if you eat a bit of the image, it's no problem. But if you have a white line, your your selection is going to look very about so I'm finishing it here. So now that we have this, you can see in the in the edit bar at the top here you can see a selection of options we're going to click on select, and that's going to make a selection for us here. With the selection down, we turn it into a mask in the layers pile. Here's another image. We're you see it, I start Ah, seven, But you seeing in the marshy ground. But waas, it wasn't a good results. So I'm back again with Ben again. This is a an accelerated video, baby. Here is this is a time from Sumi in part of the project again, The idea here is this consumes a lot of time so you have to select very carefully the emissions you're going to use. You need to help the foundation of a good father after work on, because if you're going toe, go back on, trying different ones is going to take your love time. So that's it. By ground on, I'll be the position in here. We're going to end up duplicating that one so we can have it on the other side of the base to with those together. This is the last part of the building. It's like a in the discoveries, like a main wall. Uh huh. The Tonys stepped outside, so I'll be a position in. And here again, ones fails, and I'm going to end up. You seen the depends on. Here's a bit of trial and error. This is, of course, a a life process, so you can you can see a bit of my my work flow there, try to play a bit with shapes. It's not the their soul that that ends in the vote. On one. We'll continue the this guy with the same tone, and here I did another mosque, and I'm going to be simply bend in with a a soft brush to smooth the transition
3. II | Perfecting the Model: So here we work a bit more on the model. We start by working on a car person. We start by working on her mask. I'm going to smoothing a little with the mask options. And this are and some gruel Inish is. And what I'm going to do is I'm going to, um, you see her on the smalls to, um, finish the concept off the the original model. IChat. I didn't like the way I didn't like her hairstyle. Some I'm going to make a new one with a bunch of images again. The selection on we go to mask massive mask is going to be very important here because in orderto to do a a good shovel hair, we're going to work on some of the options that masking provides. Here, you can see the power mask we're using the the brush on. Basically, what it does is it tries to recognize small elements like her or and for, and you basically help the pain on it does a a new selection. This is something that needs to be perfected later. But this is a a go to and strategy in orderto were we care here, you can see in some parts of our. So this pretty girl, in some part oversold, is good at the top. You can see a small brother under. It's like a maybe the and it's kind of money. We're going to work in our on it later. Curious with second model, I agree into the using several parts of the scene ish. Later I working on the color in other toe, send them all together. - Okay , so here you can see how to perfect it with the mask selected, not the layer of the mask. We're going to use a brush on what We're going to do. This thing. We're going to paint black with this stuff. Flight options. You can see how it removes the the mother aspects off the selection. So it's still needs some work by this guy in there on. Of course, we're going to do this with all of the hair, and, - you know, we're going to used the is a new layer, and we're going to paint some some small shadows. This is something you can dio very great grotesques, grotesque at first, and then you can trade toe erase where is too much or even use, um, transparency in order to make it work. Uh, and finally, some small bits of color correction in order to make old her working in the same town here where you sing a We're working simply with hue and saturation. We're seeing a We're using the layer of shots mons in the rear panel. The idea is to get this toe be a little in the future. So always try to work your initial assessment with with this on a second, see it ISS clutch their correct layer. You can do this by holding the old key on clicking in the line between both of the layers. So it basically means that it's on Lee working in the with the selection of that layer, it won't affect the background.
4. III | Arranging the Setting & Details: Okay, We're continuing with this process is the same. Here we click on the old K. Get them Clutch on. Start moving our way in Orderto get the whole get hold. Fair working. Okay, settle it. As you can see here, you can simply added the and the layer mask in orderto get rid of their effect on the clothes. The face. Okay, We've been working on the Bagram. We're now adding there the the title. This is more or less a placeholder. We're going to be editing the text later. But the idea here is to set up all the elements in orderto hell every civilization of how the cover works. - Here , you can see me working with that flags. It's not the final position, but once I cut all the elements that can I can concentrate on making the composition. Right. So this is say, first approach, and okay, so now we're going to use some fog broad brushes. This are included in the files on the idea here is to make to reinforce the lightning on, but also to create a sensation of volume. The fuck is good. Toe to the fine. In which element is on the top on which are more part of the background. It also gives a lot of depth on . Finally, we're working a read more with the with the shallows. Here we can cover up the sloppiest part of care here in painting and them on eraser in order to get it right here . We're going toe a a secondary shallow that's quite better. Always paint on, then work with the intensity with the capacity slayer.
5. IV | Ambience & Light 1: Okay, here we start with a small assessment on the separation. This is, say, a constant process. You keep adding elements. And while you're doing this, you'll be doing very small chessman, signora, to make the color. Or workers hold singles by waited position elements. - No , you can see him on the double, every layer. And when I'm going to Lewis and going to do some global process emissions, I'm going to start with s car. Curtis a great finish in orderto keep some. Some striking contrast. You can see it changed quite a bit. I know that I applied that. I'm going to make small changes in the shadows because the extra interest can make for a very strong blacks that we don't want on. We were carpet on the title. Remember, the funds are included on. We're wait there. It's gotta love it got a lot better in a short time. So here I am. I'm working on the on the mask on this is attached to a whole group. So I'm not altering any of my previous elections here. I'm adding a full shallow toe, the whole robe again. Tacitus later on. No, in the new layer I'm going toe Add a white light. You can see I coming. Glatch this one. So it's outside. This is a very basic on simple you and you don't even need to know how to drop. Sure, I place it in overlay, but the correct one is away. Saw flight. And here you're gonna see I, um lowering the opacity in order to get it, um, in order to regulating the intensity of the show. Small correction with the eraser on. It's a very different result here. So that's the the extra lining applied to the the main character on Dhere. The Masked didn't work. So what? I'm going to do this. I'm going to make a yellow bloke continuing. The the image we're painting it yellow. I used the and the eyedropper toe take a sample from the main challenger on No, we'll blow the musk on. We're going to need to correct it, you know, fit perfectly on. Later, I'm going to need to add a new layer fuck toe scare that area. It's going to be useful. Also, toe give it the title on the auto name. A bit more contrast on this is a a new layer. Fuck. The idea here is to it's to use color missing the yellow. I always tend to pick one from the the composition. Trying different transparency. Most there. The idea here is toe simulate some sort off ambiance light. That's so much the great volume, but toe to give the hosting or part of the scene a a line in town on here with the D eraser . We're going to take care of the sharp edges. Okay? So, no, they have the elements Lightning on lining on the model. We're going to add a couple more off adjustment layers. This is for the filter. Simply toe and give another layer of stone on. This is one of my favorites color balance. Basically, I'm going toe here. You can say selected shadows, and I'm pushing the bluer Hughes off the shallows on here. Go to highlights and I go with the warmest owns. What do you get? There is a basically a a a second a bunch of countries. Uh, but I wouldn't like to pick survive big sky like this stormy one. And when this happens, you kind of need toe Correct The the Rio selection There was what I did. There is basically I selected the mountains and painted with the fuck on. Brush on it gave You gave me this as a layer Fuck. And I'm you seeing a black and white on chosen layer over the this guy. Um what they did s I simply I know where the capacity of the adjustment layer, though, and to get this particularly separation so that they seen this quite market, You can see this white lines here at the top. We're going to need to correct those later were correct in this. Now, this is a basically a selection effect. You have to be quite careful with this one's because it will end up in print. You can see there. The flag also crabs him. - There are more ambiance light there on this grain there. It's quite there
6. V | Ambience & Light 2: - gave a running a nuke shadow here, Rose ating within density and here and placing it in the top of the whole group. So it'll fix day the secondary. But we made David lesson density. This works good. In order to agree a bit more drama here, I'm correcting this light reality and untrained. Basically different. I'm trained different transparency molds on Dhere. We're going to make her her clothes black or a great. I think, Um, we're simply decide writing here. You can see it affects the whole image. With this, we've been making a bit darker, like all us husband layers I painted black this time the whole thing. And I'm going to paint the address I want to keep always, always use a soft brush. And here we go. Since this, since this is an adjustment, you can be quite stop here with no real consequence. I you can also retained the services you your bust on. If you see a bit of flag there in the binding, this is because there the finest gain. Quite huge now. So, um, you can inspect this with every big pressure you do with this project. I'm working with the full 300 dp I resolution so far gets quite big and there is no there is no not much you can do about this. Build a bear. A computer that's one on the other is saved quite often because this is a common crash. So we're correcting the shower. There you can see the like getting quite bad there the lack itself. It's a small price to pay compared to the benefits of working with a chessman layer. Son unmasks This takes a lot of your run in your computer, but what it gives you it's something you can turn turn on enough guessing it's on. You can realtor that any time you want. Imagine if we had just simply applied considerations the Danish with the previous election . This is a change we won't be ableto undo a new layer Fuck in order a darker one in orderto give it more volume and a new round of proposition because this is what we do all the time . I went, um, back on enough. I, um, ended up making her a lot bigger
7. VI | Logo & Flag: we are an illustrator now. The declaimed wanted to add a a small symbol the most part off the story. So here I am, basically working with basic shapes to represent it. It's a very it's a symbol on. What I'm doing is, um, I'm using the polygon shape and what I'm creating the polygons. I'm simply using the arrow casing the in the Keeper in order to give and in order to give it more or less sites. So I end up with triangles. This is quite straightforward. Gave the and you think a line and I'm in. The circles are part of a symbol. Once they have the figure down am I can simply select it. Old Andi driving the father shop. We had a small star in the center going to give it more spikes. This is again with the Keeper. You seen the arrow keys while doing the while placing the the shape on this kind of there selected dull and drag it to father shop. Good thing this is still a vector, so I can basically re edited in Illustrator In case I need I need updates automatically in partnership. This is quite a cool feature, So you're going to see me take a long time figuring work to place this. It ended up in the in the flag, but right now I'm going to take a bit of time trying to place it along with the title and trying some some options. I'm leaving this part of footage because even if Discover had a a clear composition from the beginning, there is always a lover, a lot off comments and goings on, and it's important toe have in mind. And this is a part of the off the shop on the process of making not only able cover, but pretty much anything that you work on. So I tried at first of Century Andre some transparency on it on us. You know, It ended up in the in the flack at the back, - so I corrected the power efecto on. I'm basically in the character panel. I'm simply using the spacing and I moved by Boulder Fund on Trade A a couple of colors in the final chapter. We're going to be working with the to find out effects for the typography. I reworked a bit on the on the symbol and on now we can place it in the flak. - So , uh, here with control, the control key from the handles I went back. Take it again On here in order to do is I kept a copy and I right click in the layer on rest arise So now they know that it's not eligible anymore And the transform key works gives different options. So here we control You can see it it worsen that handle and not whole thing. And know that this place I can you see advance mode that can let me place it in the flag and morbid with the float So another this place simply a transparency mode. I feed off work on the bus city on its there. - So here, for the final details I picked up a texture from the from big survive. I placed it with transparent smells. Are you sink? You know, um transparent smelled Are you sink? You know, And I'm simply using the fuck on and brush your toe Played in different songs
8. VII | Final Details, Texture & Color: here I have another a couple of pictures. This all come from exit and I'm complicated. This one on Turn it, flipping it in order it afraid toe fix whole screen when working with the texture of the decisis. Quite important. No, the file size, but you need to regulate. So you want the most like toe work. So a places there and I'm working with soft light the society a good responsible for textures And what I'm doing it in a mask on living, living it off some off the more sensitive areas like the model here on some extra steps with separation. Okay, here is for the final Liddell's off her a new layer of color on. We were doing it with painting and not with a photo layer, simply because it allows us for for a final work with the transparency notes. So I place it on the double off the group and here in Merced, the previous layer in orderto Steele. The selection from it, you can see it's always so flight for the transparency mode on its way there, removing some access, and I'm going to do the same with her eyes and a new layer for her face on after a lot off directions with are going toward the typography which have come and go with this one on This is a double click on the layer. I had some their effects. This 1st 1 is in your life. We can relate the size this is outright on. You can see it starts to come up from Bagram on a small level just to get a shine transom different colors After some coming in guys when you know you see night and transparency mode and some in our shadows to make it, um, more contrast on. Here's a look So, uh, congratulations for rich in the the end of the cars. I hope you like it. I'm looking forward to hear your feedback. Thank you for watching. See you next time.
Paulo Duelli, Book Cover Designer
