Digitally Coloring Detailed Illustrations: From Sketch to Print or Web | Leigh Rooney | Skillshare

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Digitally Coloring Detailed Illustrations: From Sketch to Print or Web

teacher avatar Leigh Rooney, Artist + Teacher + Learner

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

15 Lessons (1h 15m)
    • 1. 1. Introduction + materials

      2:22
    • 2. 2. Sketching your illustration + finding inspiration

      4:08
    • 3. 3. Inking your illustration

      5:32
    • 4. 4. Scanning your illustration

      4:22
    • 5. 5. Isolating the line work in Photoshop

      5:49
    • 6. 6. Adding color to the line work with clipping masks

      6:31
    • 7. 7. Isolating the line work in Illustrator with Image Trace

      6:41
    • 8. 8. Creating a limited color palette

      7:24
    • 9. 9. Blocking in colors

      5:40
    • 10. 10. Blocking in colors continued

      3:42
    • 11. 11. Locking pixels to add depth

      7:34
    • 12. 12. Adding depth continued

      4:18
    • 13. 13. Adding texture

      5:41
    • 14. 14. Saving

      4:15
    • 15. 15. Goodbye and THANK YOU!!

      0:49
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About This Class

Artist and teacher Leigh Ann Rooney will guide you through creating colorful and detailed illustrations. This course focuses on coloring detailed hand-drawn illustrations and it will take you through all the steps from sketching to saving for web or print. Advanced techniques are used, but the step-by-step instructions are suitable for beginners, Photoshop experts, and everyone in between. A lot of options are discussed so that you can create a unique and original illustration. You will find your personal style of working with Photoshop and learn to have fun and be creative with the program.

Here’s what we’ll cover:

  • Inspiration for illustrations
  • Scanning and preparing your illustration for digital color
  • Creating custom color palettes to get the look you’re going for
  • Painting in Photoshop (I’ve developed some helpful tricks to make this kind of detail work MUCH easier)
  • Adding depth with handmade textures
  • Saving your illustrations so they are ready for print or web or anything else.

Materials you’ll need:

  • Pencil
  • Paper: sketch or computer paper and cardstock or bristol board
  • Pens or brush and ink
  • Scanner
  • Adobe Photoshop
  • Optional: Adobe Illustrator

I made this course because I was frustrated by trying to digitally color my illustrations which can be detailed with lots of sketchy line work. All of the tutorials I found were for coloring really clean drawings so I decided to make my own!

These digital coloring techniques could be used on simple images, collages, and really anything you can think of.

I’ve spent HOURS of trial and error developing these techniques so that you don’t have to. I give you lots of options so that you can make your illustrations look exactly the way you want them to. It’s important for me to understand how and why things work in Photoshop and I'll explain everything I know about the program to you. My hope is that this understanding will give you the confidence to find your own personal ways of working with the program.

Meet Your Teacher

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Leigh Rooney

Artist + Teacher + Learner

Teacher

Hi!

Thanks for stopping by.

I've been making art for as long as I can remember and I'm passionate about passing on all the skills I've learned. I have an MFA in painting and I've taught at colleges, high schools, middle schools, art centers, and online. I have TONS of ideas for Skillshare courses so make sure to follow me to get updated when I create a new course.

 

See more of my art on my website: http://www.leighannrooney.com/

See full profile

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Transcripts

1. 1. Introduction + materials: Hey, welcome to our class. I'm really excited about doing this. Course is I spent so many hours with these techniques and I want to pass them on to you so you don't have to spend all those hours, so I just want to give you a basic overview materials will be using. We're going to start with simple drawings, so I start my drawings on regular basic computer paper. You can you sketch book, paper. You can use whatever you have. You don't have to go out and buy fancy paper. I used these my gram pens for drumming, and I put duct tape around them to help my hands be more comfortable. You can use a ballpoint pen. You can use a brush and ink. You can use Sharpie. You just wanted to create a dark line. The other thing will be using is photo trap, adobe photo shop and a computer. You can use any computer that you have a Mac or PC laptop desktop. Really? Anything that you have. I think a lot of these techniques can be done on Photoshopped elements. So if you're using Photoshopped elements, just, you know, shoot me an email were write it in the comments, and we can help you figure out how to make elements work with these techniques. These weight home has a really awesome. You do not need to have one, but if you do, it will help a little bit. This is the least expensive version that they offer, and it's what I'll be using. But before I had this for years and years, I just used old laptop with the trapped or a mouse, and that works fine, too, so you don't need to go out and buy any fancy equipment. You just need something to draw with. Something to make a nice look. Dark line like a pen photoshopped on your computer. Oh, and you need a scanner to so you don't need to scan in your images to the computer. You can use any scanner. If you have, like a printer scanner thing at home, that is totally fine. So I'm really excited about this class. I really want to make sure you find your own personal form of expression. That's really important to me. So ask lots of questions, post your images as you're progressing on, and I'll give you all the feedback that I can and I give lots of options. So that's so you can find your own way of working and making you look original and specific to your style. Taste, so have fun and let's get started. 2. 2. Sketching your illustration + finding inspiration: Okay, We're going to talk about sketching and creating your drawing for this process. So I'm gonna go through this kind of quickly. I'm planning on making another skill share course just about drawing and illustrating without any of the digital part of it. So make sure to follow me on skill share and you'll get an update about one that courses life and ready to go. So a big thing that most people have a hard time with is finding inspiration. And I think you should really just keep it simple. You can use collections of things that you find around your home. I like to collect like kind cones. This would be a really great thing to draw and use. You can take photos. You can use houseplants. If you're having trouble finding inspiration, I suggest just taking a walk with your phone outside and snapping a bunch of pictures and then using those photos as reference. That's what I've done for this tree drawing. Have a bunch of pictures of trees just in my phone and in my camera, and then I do it from memory. So I make it my own and you build up to that over time, so it's really great to copy stuff. At first you can just have your phone right next to you and be looking at it. And then as you build up over time, you can do it more from memory, and that will create your own unique style. If you were using your memory and using your own techniques to create your drawing, the one thing I do not want you to do is just copy and image, like straight from Google images or from any kind of image search that you find online because that's someone else's image that they've created. If they've taken a photograph, they've taken the time Teoh compose it properly in. They've done the lighting and shadows, so it's also, if illegal, if you're wanting to resell this illustration. If you've copied someone else's photos, you can get sued for that. So I think it's good practice. Even if you're not planning on selling anything to just find your own inspiration, keep it really simple. Look at what's around in your home and take or take a walk outside and find some inspiration from nature and, you know, maybe focus on just one object. For now you can find a house plant or the pine cone or a tree. So the way I start drawing is I just get in the big basic shapes. So the first thing I do is get in this tree trunk and I'm not worried about any of the details yet, and then I'm just blocking out where the leaves are going to be. So I'm just making these big, broad strokes. I'm not worried about anything being perfect. I'm just kind of getting it all down in one big basic shape. And this is just plain old computer paper that I used to sketch on. We're gonna do sketches and then we're going, Teoh, put them onto nicer paper. So just to speed up the process, I've gone a step further in the sketch. So for you, this would be the same piece of paper. But to speed up the video, I put it on any piece paper. So after you get your sketchy lines down and those air under here, then you start going darker so you can see them when we're tracing. So make darker lines, adding your details. And with this there's a lot of detail in each of the leaves, you know, in each of the branches. So I've on. Lee added the detail in one or two of them. So I know what I'm doing. And I haven't added the detail in the rest because that's just giving you more work to do, and you're gonna have to draw it twice. And if it's little things like this that are kind of random, and I don't have to be perfect, I would just leave those out of your sketch and worry about getting them done on your final ink drying. So for the sketch on the computer paper with pencil, you're just getting the basic outline details in so all the basic shapes and the outline because you're gonna trace it, and then you're getting, you know, some of the details in some spots where you need them, so you have kind of a guideline to go with when you're thinking it. And so our next step we have from this pencil sketch is going to be making the ink outlines 3. 3. Inking your illustration: Okay, so once you have your pencil sketch all worked out and you have some of the details on there were going to ink it onto a clean piece of paper. Now this paper, you want to be a little bit thicker than just computer paper. I have some card stock here that I buy it like office supply stores in bulk, and that works great for just ink outline. If you're going to be using, like, brush and ink or any kind of wet media, you probably want a watercolor paper or something thicker. But for what we're doing, you can just use regular card stock. If you have Bristol board, that's great. I'm using a light box for this, but if you do not have a light box that is fine. You can just take your original drawing and you tape it up to a window and then tape your other paper on top of it. And just some make some space in front of a window during the daytime, and it works the exact same as a light box. There's also tons of tutorials online for free, about how to make d I Y light boxes, which are kind of great. Some people use their laptop computer screens. You do not have to go out and buy a light box for this at all. You can do it with the window. You can even put some tracing paper over this to get the clean outline. So the point of starting with a sketch, a pencil sketch on paper, and then putting it on a new piece of paper is that we weren't really clean lines for this . Since it's a really detailed drawing, we don't want to see all the pencil marks. And I want you to take your time with the pencil drawing and get really loose and a race, and you could be messy on here. And then we're putting on a clean piece of paper to get there really clean outline. So I'm gonna put I put my pencil sketch down. Then I put my clean paper on top of it. Either Bristol, Earth or Card stock. And then I'm gonna start just doing the basic outline with my micron pens. You can do this with an ink and brush. If you feel cut more comfortable with that, um, you can just use a ballpoint pen. If that's all you have, you know what kind of a whole point is You can You could make it work for you. Mina. Turn off one of these lights so you can see a little better. So the light boxes helping me see through. And I'm just taking time to get these lines the way I want them to look. And I'm refining as I go, you know, maybe adding some more details. So I always start with the outline, and usually I go and order from top to bottom. But you can do whatever makes sense for you. For some reason. Right now, I started at the bottom, and sometimes the light box gets hard to see, especially if you have a light hand like me. So I just hold it down, make sure my hands are clean. So the paper stays clean and you basically just doing the outline. So once you have this whole outline done, then you're going to start adding in details. And at that point, you might not even need to have the lightbox on, or it can move away from the window. If you're at the window and you can really just add details, you know, in shading as you as you want them to be. But I really encourage you to experiment and kind of go further than you normally would with the shading, you know, really go far. You can always start over. You can always start again, and you don't know where that edges until you go over it. And I think an art. It's good to find your edge, because that's when things get really interesting. You might over work stuff sometimes, and that's totally fine. You can just start a new one, and it's probably actually going to be better the second time. I often do drawings two or three times until I get it right, and I'm not afraid of starting over. I think it's important to do that. It's also important to know when it's good enough and to just leave it so this could be a long process, depending on how big your drawing is, how Maney details, you can turn the light box off or take it off the window to see how you're doing. I also suggest having another piece of paper, the same kind of paper you're working on, with the same kind of card stock and having it next to you for doing details. Just so you can kind of check your pen texture and see, you know what things they're gonna look like before you go on to your final drawing. So, you know, take the time to experiment. If you have different sizes of pens, you know, try them all out. And some people even dio lines like this and then all right, one, that's my one pen. And then some lines like this. That's what the 03 looks like. And some people find that really helpful to just have a basic idea of what each pen does and how thick the line is. And so I think it's always a good idea to have a scrap piece of paper next to you while you're working. Um, I think that really helps. Okay, so take your time to get your outline. If you need to start over, start over. Not a big deal, and then we'll move on to scanning 4. 4. Scanning your illustration: Okay, Now that you've have your drawing fully inked, we're gonna scan it into the computer. So just place it face down on your scanner, and I like to use the preview program on a Mac to scan my images. So you goto file and import from whatever the name of your scanner is, and then it will open up this box. If you don't see the details, you can just come over and press show details, which will be an option here. So if you don't have a Mac, you can use whatever program comes with your scanner or whatever you have on your computer . Most of them will have these basic options that we need for this. So for this program, we need to draw selection around it. You don't need to scan this all this white area just scan in the area where your image is. The important things to remember are that we're scanning in black and white. We do not need all the information of a color scan. We just need the black and white. We're gonna add the color later, then our resolution is going to be as high as you can. Your computer can take. So I scan everything in its 603 hundreds. Okay, to 300 is a good high resolution size and OK for printing. If your computer is slow or if you don't have a lot of space on it, you can scan in the lower resolution, but just know that it's not gonna look good if you want to enlarge it or if you want to make prints of it. So if you know you're going to make prints of your images, if you're gonna put them on cards or any kind of products, you do want to scan in as high as you can, and I recommend 600. Then the next thing is the file format. So I like to scan my things in his PNG when I'm doing digital work. That just is what I prefer. A lot of people scan their stuff in, and this the tiff, so if that's what you're used to, go ahead and use a tiff. Try both and see how they work for your images and for what you're doing. So black and white high resolution. If you can and format PNG or tiff, then hit scan, which I've already done, and we're gonna come into Photoshopped. Okay, so now we're gonna save it as a smaller size so you can upload it into the project page. I really want to see what you guys air working on. I want to see how it looks. They'll make sure you upload a copy of your scan drawing into the project page. So we're gonna lower the image eyes by going to image image size. We're just gonna change the resolution here to 72 72 is a typical resolution size for Web press. OK, I'm going to zoom in, so it's 100% down here. You can see that, and that's what it'll look like online. And that's great. And then we're going to do a file save as from the format drop down, we're gonna make it a J peg. And then we're going to come up here and just whatever your file name is, do a dash and do low rez. So you have that low rez file of this scan saved. It's called something else. So it'll save as a different file in your computer. Hit save Gonna hit. Cancel, But make sure you hit save, and now most important, is the most important thing. You want to go back to the original size, so we've done a save as, and we've saved the small, low rez version of the file and then come up and come back to where you opened it. So now if you go into image image size, you can check, and it's still at 600. If you're the kind of person who's gonna forget to go back, just do the image duplicate and make a duplicate image copy and then go to image image size and you're working on the duplicate. Here, turn that to 72 and do a file save as and again call it Low rez and make it a J. You can keep it as a PNG to him and hit Cancel. So now if you've done the duplicate, you have your original. That hasn't been touched, and you have your lower s copy so you don't have to worry about losing anything. I think making a duplicate is a really smart thing to dio. Whatever makes sense for you whatever you're used to, you know, get in your own style of working. Just make sure that you keep that original high rez copy of your image because that's really important to have 5. 5. Isolating the line work in Photoshop: Okay, so now that you've scanned your drawing into the computer, we need to open it up in photo shop. So there's a couple of different ways to do that and just come here to the opening screen of Photoshopped and Click Open. And I like to save all my images that I'm gonna be working on on the desktop. So I have, ah, folder on the desk, top of skill share images. I'm gonna open up the scan. So another option is you condone drag images from your finder directly into Photoshopped to just like this, You can just pull the icon and drag it into your photo shop icon. You can also, when you're in Photoshopped, go to file open, and the key command for that is command. Oh, so there's a couple different ways to open up images in there. The first thing I like to do with every image is to just go ahead and duplicate it, someone to go to image duplicate. This makes a copy, you can rename it, gonna press, OK, and I'm gonna close out of the original scam. So now we have a copy of the of the original scan and the original scan is safe. So no matter what happens if you make any kind of mistakes, you always have that original to go back to. And I think it's important to keep the original scan. It just save you time if you end up messing up. OK, so we're going to clean this up on to make it completely black and white because we're gonna isolate the line work. So basically were separating the lines that we have created from the paper background so that we can put this on all different kinds of backgrounds and so that we have more control over the lines. So I'm going to go up to image adjustments and levels, and the key command for that, you can see right here is command help. Then this dialog box will pop up, and we're just gonna click on these little triangle things and scroll them over, and you can see we're trying to get it to complete black and white. This is completely dependent on your drawing, the outcome you want for your drawing, how you want it to look you. The only thing you need to make sure to do is to get the paper completely looking white. So that's going to depend on what kind of paper use and all that. I'm gonna press. Okay, I'm gonna unlock the background here by just double clicking on this lock Press, OK? And now we're going to select the black lines so we can isolate them from the background. So to do this, we're going to go into the channels panel. So if you don't see this channels option with your layers. In fact, if you don't see layers or any other options, you come upto window and just make sure channels is check, so whatever's checked should be open. So if you're ever lose anything or close it by mistake, nobody deal. Just come back into window and find what you're looking for and make sure it's checked. So we're in channels. You should just see gray. Now, if you see different color channels, that means you scan your image in in color and not black and white. You can go up to image mode and change it into gray scale to get it back to black and white . So we're in the channels window and you want to come down here to the bottom. This little dotted square icon if you hover over it for a little bit says load channel ass selection. So we're just gonna click on that and this is really simple. It seems really simple. And I wish I have learned this years ago because it's super easy. All you do is hit, delete, and we're going to come back into the layers panel and then we're gonna de select, which is command d, or you can come up to select and go to de select. And then we are going to lock thes transparent pixels. We're going to talk a lot about locking these pixels later. That's how we're gonna color in our images, basically. But for now, just know that it is letting those pixels that are there. So basically what's colored in black, the line work, it's going to lock it so you can't affect any other parts of the layers. So unlocking it and I'm coming up to edit and Phil, and then we're gonna fill in and could see how some of the detail got lost and it got really light. Just make sure that this is black. You want the opacity? 100 mode normal, and this should kind of be the default. If it's not, you can just go from the drop down and choose black press. OK? And now you can see how that became filled in. So I'm gonna add a new layer of white behind it, so make sure you're in your layers panel here and click this little icon that looks like a piece of paper creating new layer. I'm going to just click and drag it down to the bottom. I'm gonna go into my paint bucket tool. If you don't see it might be hidden behind the Grady Int tool and we want white. So if you have a bunch of other colors in here, you can just click on the little boxes to get you back to black and white and then click on the arrow to make white on the top, because the paint bucket is going to use whatever color is on top. Whatever is your foreground color and just click anywhere. Make sure you're on the new layer that you created, and I'm going to start naming the layers because we're going to get into a lot of layers and naming them might seem annoying, but it is really important for later. And it will end up saving you time. So we just double click to change the name. And I'm gonna call this background white in case we have other colors and layer zero again . Double click on it and I'm gonna call this line work. And so now we know what everything is. 6. 6. Adding color to the line work with clipping masks: Okay, so I'm gonna show you a neat trick. In case you don't want your outline to be black and white, you can make it a different color. So now we're gonna come back up into image mode and change it to RGB color so we can add a colored layer. Just click. Don't merge. You don't want to merge the hairs because then you're going to get back to that white background being attached. Teoh the line work image. So I want to open up another file, something in a file open. And I have some of these textures that I've created actually sell them on creative market. I'll make sure to put a link to them. So I just create these with ink, and this one has salt in it. I make them by hand, and I use them for everything. We're coming up into the rectangular marquee tool, and I'm gonna draw our rectangle to grab some of this texture toe put into the tree. And I'm gonna go command, see a copy, and then I'm gonna come back in here and to command V, and that's just going to paste it right on there. If it copied it in black and white. That just means you skip this step to go to image mode and change to RGB. So you'll just have to delete that layer, change the image to RGB and paste it again. I'm gonna call this salt radiant, and I'm going to make it bigger, so I'm gonna zoom out a little bit. This is one of the most important key commands. I think if you're gonna learn any of them command and the negative button and I'm going to go command Tia to transform, that's up here in edit free transform. And that's another good one to memorize. So I'm gonna make it bigger so it covers the whole tree. I'm also going to flip it around just because I feel like the later part would be on top in the tree because the sunlight would be hitting it there. And once you're done with the transform, you wanna hit, enter or return or double click to keep it there. Now, if you're wanting to see what you're covering, you can just come up to the opacity and turn it down so you can see what you're doing when you're in the transform and moving this stuff around. This one was taking up the whole page, so we didn't need to do that as much. I'm gonna put the opacity back up so you can see what I'm about to dio. So what I'm gonna do is create a clipping mask. This is a really simple thing to dio that cause is really cool effects. So what I'm basically doing is clipping this Grady int into the line work. So make sure that the color or texture or whatever you're putting into your line work is above the lines. And then you're just holding the option key and moving your cursor until it changes. So, in between these two lines of changes and then you're just clicking. And now this salt radiant, I'm gonna go up into the move Tool is within those lines, and you can move the Grady int around. You can change the opacity. What I like to do is come up to image adjustments but a color balance and play with the tones. Maybe you can make it more blue. You can make it more green. We'll go into the shadows. So I like to do each the shadows, mid tones and highlights toe affect the tones and the colors of this image. Now, if it was just a flat color that you were clipping into their, then you wouldn't have to do the shadows, Mentos and highlights because it would all be the same. But you could still affect the color of it. So, yeah, maybe you want to make it green. Maybe you want to work on making it brown, so you can really you can do multiple clipping masks on here. You can even just right click duplicate layer. Make another one, Andi, but maybe it with this one. I'll do command tea and I'll rotate it this way. So we have a lot of texture going on. Maybe the tone is a little more even, and you're just kind of playing around with that Will hit return to set that And yes, so that's isolating the line work for really detailed stuff. You can see how those salt radiance air in there. If you want to see what it looks like without you just click on this little I and those air gone and you're back to the black so you can really do a lot. Now that you have isolated this line work, you can switch it up. You can change the colors and we're gonna go ahead and start filling in each of these color blocking the leaves and the trunk. But just this step, I think, adds a lot. Of course, it's going to be transparent in the background. Let me throw another color behind here because sometimes white isn't that easy to see. So I'm just gonna pick maybe a blue so you can kind of see what's going on. I'm gonna go to the paint bucket tool and I'm gonna take off these. I took the Grady int off because the white in the salt ends up looking kind of funny against a darker color. I think it only looks good against white, but now you can see how the blue is showing through all of these lines. So we're gonna have to color them in if you want to put it on a different background or if you wanna layer stuff up if you want other images behind it. But if you just wanted a simple line work image, you have it here already. And of course you can come in and just erase these details. Little mistakes. So I'm making sure I'm in the line work layer and just hitting a race, and you can spend probably hours going through and making sure it's really perfect. And exactly how do you want it to look? All right. Next, we will work on isolating line work. Do by doing an image, trace and illustrator. This method, this isolating the line working photo shop is best for really detailed drawings. An illustrator. You're gonna lose some of the details. So if your drawings are super detailed and you want to keep all that original detail from your drawing, this is the way to go. All right, let's get a move on to the next lesson. 7. 7. Isolating the line work in Illustrator with Image Trace: Okay, So I'm going to show you how to do an image Trace an illustrator in Adobe Illustrator, which is just another way of isolating the line work. And I'll explain to you the difference will compare the two and you can see what works for you. Now, if you don't have illustrator, you can skip this part of the course, but I think it's always good. Teoh, just watch and take a look at what all the different options are. It might help you in the future. It'll just help you understand the programs on what they do a little bit better. So opening up a file in Adobe Illustrator is the same as in photo shop. Now, you might go into a photo shop and clean this up a little bit, used the eraser tool and the levels goto adjustment levels and make it black and white. I'm just going to go ahead and do an image trace right from the scan that I have. We're going to be using this image trace window here. If you don't see it come upto window, make sure that image trace is checked. I'm gonna click off of the illustration for a second and then click back on. We need to make sure that it is highlighted. So if you don't see the options and image trace, if they're all great out simply, just click on your image. And when you do, click on your image. Oh, see, there's an option for image trace up here that you can do really quickly, but we want all of these advanced options to show up. So I'm gonna start with a preset that's usually what I dio. You can also make your own presets. You can save your own and that smart to do if you have the same drawing style I've just used their sketched are pre set to start. Usually works well with my drawings. You can try black and white logo is a good one to our line, our technical drawing. I encourage you to really try them all. So this is how you learn these programs. This is how you get better at these programs is just by experimenting. Don't be afraid of making mistakes. You can always go back. You can always redo it. It's not a big deal, and it is definitely not a waste of time. to experiment and tried every single option within these programs. That's how I learned them. And that's how most people do. Okay, so the sketch are it's pretty good. But we lost a lot of detail in here, so I'm gonna increase the threshold. Just gonna click and drag this up behind. It's going to take a minute toe work, and then you'll see that it changes. If you do not see the change happen, all you need to do is make sure this preview is checked so that you're seeing what's happening now. We didn't get more detail, but a lot of things not blacked out, which I don't really like the way that looks. So I'm gonna come back. I'm no type in maybe 1 45 and see how that looks. So you can either scroll or type in numbers so that it's looking a little better to me. I'm also gonna increase the paths that's gonna help with details, getting more details, and I'm an increase the corners again. This is completely dependant upon your drawing style. So I really, really want to see you experimenting and trying all of these options. Seen what looks good for your personal drawing style. Okay, so I'm gonna go ahead and say this looks good and the final step is to hit expand, which is up here on the top, and that's confirming it in to pass. We can change the size of this. We can change the colors by clicking on it, double clicking on the color palette and changing the color. Now it's in black and white suits in gray scale. In order to get it out of gray scale, we need to come to the color palette up here. Andi, click on these four little lines in the color pilot and just change it to RGB. That makes it red. We can literally make it anyhow where we want, which is kind of fun. So I want to show you a zoom in by pressing command plus plus, And now I see some of the details get kind of funny in here. You can take time to clean up your drawing more in photo shop. You want to avoid those things, but just so you can see get this back to black so we can really see what's happening. Okay, so I have the Photoshopped version that we isolated the line work with here on the left. So this is the Photoshopped version and then the illustrator version here on the right for me, zoom out a little bit so you can see, um, the illustrator version is more clean. It's more opaque, but we've lost a lot of detail, and the Photoshopped version has a lot of the detail, but it's maybe not as clean looking. So this is where your personal preference really comes into play. You're gonna pick what what the look is you want for your project. I encourage you to try both and just see what works for you. With the Photoshopped image, we do get pixellated, so if you zoom in super close, your image is going to get pixelated. Now Illustrator is a vector program that means there are no pixels. So if you were needing to make your image really, really big, you can see we can zoom in here and it's never going to get pixellated, no matter how close and we get. So that's really the benefit of Illustrator is that it's not pixelated. You can make this huge great for a graphic design stuff, so think about where your illustration is going to end up. If you're wanting to resize it, what you're going to do with it, the final look that you want for your illustration and then pick the program and the technique that works best for you and for your vision of your artwork. So that's the difference between the two ways of isolating your line work. And now you can bring this illustrator. You can save it and open it up in photo shop if you want to use the illustrator version of the line, work for the rest of the course, and I love to see what everybody has done so far, so make sure to post an image of you're isolated line work. If you did both, please put post both the photo shop in the illustrator version. I think it's really fun to see everybody's progress and the different ways People's drawings, turnout. So I love to see you posting images of both your illustrator and photo shot, well isolated line work or just one of them. All right, we'll keep moving forward 8. 8. Creating a limited color palette: Okay, so we're now gonna work on creating a color palette before we start coloring in our illustrations. This is a really important step. Because Photoshopped has so many options for colors, you can really get overwhelmed. And I think it's good to just create a limited color palette. It will make all your illustrations Seymour cohesive. You can make one color palette for a whole serious of illustrations, or some artists just used the same limited color palette all the time. So this is a really great practice, something to just get in the habit of. So I find inspiration for my colors all over. I've been loving these vintage national part posters I think have some really awesome colors, and they use really limited color palettes. I also I'm always looking on Pinterest for the color inspiration. I have this texture board that has a lot of great colors in it. So I'm going to grab two of these images to bring to my desktop, gonna take this one and just drag it onto my desktop from Google images, and I'm gonna take this one and just drag it onto my desktop from interest. Okay, Some of the highlight both of these and dragged them into Photoshopped. So basically, we're just going to use the color picker to create our own color palette. I'm gonna make the color palette and a new document, So I'm gonna goto command and which is file new, and I'm going to make it eight by 10 inches. If you don't see interest here, you can just do it from the drop down on and make the resolution 72 dp. I I'm just making it a small file. I don't want it to take up a lot of room in my computer. We don't need a big high resolution file. Eight by 10 is just a standard size. So it's easy to look at and easy to work with. So create You can really make it any sides you want. Okay, so first thing we're gonna do is grab a color. So I'm going to be using the color picker, which is right here and for this to really make this process go fast. It's great to use the key command. So the eyedropper tool here is just I on the keyboard and I'm gonna pick up one of these purples now. that purple is in the foreground of my colors right here. So if I use the paintbrush, if I use anything, it will be the first color that shows up. Next thing I'm gonna do is create a little square. So I'm using this rectangular marquee and that's just em on the keyboard. And I'm just creating a square. There's a couple ways we can fill this in. You can come up to edit Phil, and it feels with the foreground color. If you don't see that, just like that, or what we're gonna be doing is using the paint bucket, which is G on the keyboard. So now I'm just gonna drive this out to make a bunch of different squares. You can spend time making this perfect, but I end up just making it kind of in perfect is really just a quick thing to help us have a cohesive color palette. So if you're in the move tool, which is the top tool here, and if you right click, you can see the key command. So that's V. And this is another important one to use if you hold the option key while you're in the move tool. You can drag out a copy of this and then release both the option key and your mouse and then hold the option key again. And you see how the cursor changes of impressing the option key. Releasing the option keys, having a press the option key, click and drag out another copy in a press the option key. Click and drag out another copy. Press the option key click drug press the option key click drag option, key drug. And just keep doing that until you still up your color palette. When you're finished, you want to make sure this is de selected. So these marching ants, you don't want them to be there. So that's command d recognize come up to select D select. Okay, now we're gonna grab some more colors. So I'm coming back into my poster. I'm hitting I for the eyedropper tool, and I'm gonna pick up this green coming back into my color palette, hitting G for my paint bucket and just clicking on that so you can see how the key commands can make this really a lot faster and you don't have to spend a ton of time doing this but I think it is worth making a limited color palette for your illustrations. Maybe for every new illustration you can come up with one. Got that green already? So let's get this. Also like using instead of black. It's nice to use some of these dark colors that you confined in illustrations. Also same with whites instead of using the bright, bright white. It's kind of nice to use a cream or an off white that you can grab from a photo. Can you grab some of these interesting colors ever showing up some hitting, I clicking, going back in here, hitting G clicking So hitting I clicking on the color I want hitting G clicking on the new box All right, so now we have a pretty nice kind of vintage e muted color palette, and you can just go to file save or command s, and you can just save it as a J peg color, and you can name it color palette, you know, skill share good to keep everything organized and save it. And then when you're working on the your illustration, you can have this open while you're working on your illustration and you can just come with the eyedropper tool and grab whatever color you want. They also start to show up in your swatches here, so you'll have them here is well, but I like having the saved color palette document just so I don't lose any of the color. So I know what they are, so I can stay focused and my colors can look really cohesive. There is this libraries option in photo shop, and it's through all the adobe programs. I don't know if if you're not working with Adobe Creative Cloud, you might not have this option. So for some reason, I just end up taking these quick documents for me, they're easier. I guess I'm used to doing them. But you could do the same thing and create a new library here. It's really easy, and you're just our king drags watches into the library like I do have some. This is from a photograph I took of mountains and I just grabbed all the different colors in the mountains. I use the eye dropper to pick them up, and then I dragged the swatches into this library. So that's another option, and that's easy, too, So whatever works for you. If you want to use the libraries and photoshopped an illustrator or if you want to just create this quick J peg of your color swatches, that is fine, too. So make sure you save your color palette. Save it as a J peg. You can close out of these. We don't need to save them. We don't need them anymore on, and we'll move on to the next step. 9. 9. Blocking in colors: Okay, so now we're going to start coloring in our illustrations, so we're just gonna color block them with basic colors. We're gonna add details later, but right now we're just getting the very basic colors in. So the files you need open are the isolated line work that you've created in photo shop, the color palette that we just made. And if you wanna have, you've made the image trace from Illustrator. You don't have to have the industry's open, but I think it's good to work on both and see what they both dio. So I'm going to come into my isolated line work. Make sure you have all your layers named because we're going to start adding a lot of different layers in here. I'm just going to keep the white background and the line work on. I'm turning off the other layers just by clicking this little eye icon. We might use them later, so I don't want to delete them. Okay, so we're going to create a new layer by coming down here, and I'm gonna call it Needles green, and you can call it whatever it is that you're coloring in for each color and each section of your illustration. We're gonna have a new layer so we can affect each each individual section and each individual color. We're gonna add textures and details to it, so you want to make as many layers as you need for each different color using. And if you have the same color in two different parts of your illustration, I would just make a new layer for each because you might want to change the colors around the more layers and hop, the more freedom you have tow. Add details later. So the more layers, the better. For this. I know it can get confusing, but as long as you name relations, you should be OK. All right, so we're making sure we're in the new layer that we created. And I'm going to come pick my color the green for the needles. So I'm coming in to my color palette, pressing I for the eyedropper tool and clicking on it. And then just make sure that color you want to use is right in the foreground. And I'm coming back into my tree and I'm just going to start painting, so I'm going to zoom in pretty close and this little hand icon that you see it's because I'm using my tablet if you're using. And it's the A button that you press on the pen. If you're using a mouse or track pad, you can just scroll as you would so amusing command plus to zoom in and amusing pressing my pen to moving around. Okay, so we're gonna just be using the brush tool, the paint brush tool so that's be on your keyboard. Come over here and make sure you're in the brush tool. And for the brush size, make sure your hardness is at 100%. Make sure your opacity is 100%. This is really important because you don't want it to be transparent in case you're layering stuff up, and I like a little oval shaped brush. I think it helps with the details that you can just come in here and get it at whatever angle works for you. We might switch this around a little bit. You can always right click when you're in the brush tool and change this around. Having your history window open is also really important. If you don't see that Goto window. Make sure history is checked and I'm just going to go back to erase what I did. Okay, so we're on the right layer, the needles layer, We have the right color in the foreground. We have our brush picked out, and I'm just going to outline the sections of the little sections of your drawing, so I'm just outlining it in the color. Then I'm switching to the paint bucket tool, which is G on the keyboard, and I'm just clicking and you have to click twice because that little white line shows up so that I'm going back into the paint brush and I'm outlining with my color and you can outline big sections or you can outline small sections, whatever makes sense for your illustration. And so I've made a complete outline, and then I'm going hitting G for the paint bucket, clicking twice, and this is basically what we're gonna do so you can have a TV show going in the background . You can have a podcast on this takes a while, but it's the fastest way I've found Teoh get really detailed illustrations colored in, so make sure you have a clean outline hit G and click twice, and that's basically all you're doing now. I'm gonna go back into the brush tool by hitting B and another key command that's really helpful is making in the brush to tool bigger and smaller. So instead of having to right click and get into this dialog box here, you can to make this to change the size, which, of course, you can do Ah. Faster way to do that is to hit the bracket keys so smaller, bigger friend. When you need to get really into detailed spots and corners, you might need your brush really smaller. And the bigger you have it, you know, the more it's gonna fill in at one time. So it's just up to you and your type of illustration that you have go into the eraser tool , which is E on your keyboard. It's right here, Eraser Tool and I have my brush set up the same way as my paintbrush, so hardness at 100% it's an oval on opacity is 100% and the news just coming in the race, so knowing these keyboard commands is really helpful 10. 10. Blocking in colors continued: So this is basically all we're doing. So we're going to do that for each different color, so I'll make a new layer for the trunk so you can just see what that's gonna look like. So I am new layer double clicking, calling it shrunk brown and I can zoom out a little bit And now I'm on the trunk brown layer in my color palette I'm hitting eye for eye dropper and I'm gonna click this brown color coming back into my tree coming back into my brush tool by heading be I'm just going to outline section of the trunk and you can do bigger sections while you're working, hitting G and clicking twice getting that little guy filled in Oops. And then I'm going to go into my eraser and I'm just going to clean up this edge here, so something you might notice if you have a really detailed drawing when you start coloring it in some of these the line work. If you have really sketchy line work like Ideo, it might change color when you're painting it with the paintbrush. Now, this doesn't bother me so much, but it might drive you crazy If it does drive you crazy and you want a cleaner Look, I'm gonna erase it so you can see. See how now that line work is lightening up, so you can either make sure to fill in that hole line work with the paintbrush. If you really hate the way that looks come into your illustrator image trace and you can see I'm gonna make a new layer and I'm dragging this layer below the line work. You can see that that doesn't happen because this is a completely opaque line. So these air kind of the benefits and the down files of both the illustrator and the Photoshopped version of this isolating line work technique with that. This is the illustrator version here with the image trace, and it's a completely opaque line. You're not getting any change in the line in the line work color. And then with the photo shop isolated line work technique. You are getting a little bit of change, depending on what colors air behind it, because there's a little transparency in here and your line work. If you're lying. Work is really thick and strong. This might not happen, but just keep this in mind, you know, if it doesn't bother you, that's fine. If it's for some people, like the way it looks. So it's all up to you in your style. Another thing I want to mention is, while you are getting really detailed in the coloring here, you might notice some areas that you need to clean up. So just come into the line, work and hit the eraser tool. And if it's locked because we remember we locked the transparent layers, just come up here and unlock it for now and being their race or tool, and you can just clean up. So I use this time while I'm coloring in and getting details to kind of really clean up the edges of my line work. So I think it saves time and doing this separately. Conduit wall, your color blocking. All right, so we're gonna take some time now when you take some time in color block in this in top your entire illustration, and once it's color blocked at the end of the stage, make sure to post it cause I really want to see what everybody's color blocking looks like . Then we're gonna add some more details and textures and shadows and highlights later. But let's see what everybody everybody's looks like, because I think it's really fun to see the process. 11. 11. Locking pixels to add depth: So now we're going to start adding some shadows, highlights and depth to our illustrations. So you've colored in all of the different portions of your illustration and all of the different objects or sections, and each one should have its own color. I only have to hear the green needles and the brown trunk, but you might have a lot of different ones, so we're just gonna pick one to start practicing with. And the first very first thing we're gonna do before adding any shadows or highlights is make a copy of this layer we're going to right, click on it and duplicate layer. And I'm just leave it as whatever the title is and coffee and I'm gonna turn the little I off on the original. And this original one is just gonna be a backup safety. We're gonna work on the copy, and if we mess it up, we always have that back up to go back to. So I just like doing lists it. Maybe it makes a lot more layers, but it's a little bit of a safety net, and it makes me feel more comfortable with experimenting. So what we're going to do is block this transparent pixels of this layer just like we did with the line work. And when we do this step, you're going to see exactly what that does. Even more so I have to do is click on this and I'm going to give you an example of what that looks like. I'm going to use a bright color so you can really see. It'll just got this pink going to my brush tool. Go into my brush tool on. If I start coloring, it's on Lee coloring in where those brown pixels are on my trunk so I can really make big. I'm making big brush strokes, and I'm not really paying attention cause it's on Lee getting in to where the brown is now . If I unlock it, you can see it'll just pain all over the place. Then I lock it, and it's on Lee painting where that brown color is where you've locked those pixels. This is a huge time saver. It lets you get really creative, and it has so many different applications. I wish I had learned this years ago. It it's so awesome. It's one of my favorite things in Photoshopped So what we're gonna do is we're gonna add some shadows and highlights just with the regular brush. Hit the eyedropper tool and pick up that brown color double click on here. I'm gonna make it a little darker and a little warmer. So I'm gonna bring down to the Reds a little more No, get, like a shadow color. And I'm just in my brush just in my regular paintbrush and I'm just gonna come and added some shadows around the edges. So we're creating volume. We're making it look more three dimensional, usually the branches of trees or darker. So whatever makes sense for the shadows and your image, something is behind something else. You'd make a drop shadow, I think the bottom of the trunks probably a little darker. And you can make your brush pretty big because you're just, you know, hitting the edges of it. And it doesn't have to take a lot of time. You spend a lot of time coloring in the solid color blocking in the color. So now you can. I had all these details on it. It takes a lot less time. You don't have to be as precise. So That's for the shadow's gonna say that looks OK. You can obviously go nuts with this and take a much time as you want. But just for our purposes, I'm gonna go a little faster going to come back in here and was pick Ah, highlight color A little more yellowy and I'm going Teoh, go in the center where I think the highlights would be on the top of the branches. You know, I'm just kind of eyeballing it and guessing maybe there being more highlights towards the top of the tree. Okay, next thing we're gonna do is we're gonna blend all of these highlights and shadows together , so I'm gonna zoom in a little more so you can see what this does. So what we're going to use to do this is called the mixer brush. So if you're right, click on your brush tool that you can get into the mixer brush tool if you come over into tool presets. These air what are already built into the mixer brush tool and I really like them. I think they work great. If you don't see tool presets, you just come up here and make sure tool presets or are checked. I like the oil soft oil pastel that works best for what I like. I really encourage you to just try all of these, see what they do. Something to make my brush a little bigger were coming up here. There's a lot of different options in here, and I'll just show you some basic ones. I'm gonna increase the mix. So this is mixing the colors that are already here on your layer. So we're mixing the colors that are already on your layer. So I'm just show you what that looks like. So we're blending these colors together. This tool is awesome. It's using all blending all the pixels together. And I have this highlight color chosen. But if I want to go darker, I can just pick the darker color and you can see how that's bringing the darker color in. So really, depending on the look you're going for for each different section, like I'm gonna come in here and go back to the highlight color, get that all highlighted in there and really take the time to mix this stuff together and make it look good. Go back to the dark because I think it would be, like, dark underneath. And now that's not dark enough that I think this would be a pretty deep shadow. So I'm gonna go back, right? Click on the mixer brush, go back into my brush tool and get smaller. I'm gonna pick up this dark color and only gonna odds and dark in here So you can really, really add a lot of detail. You can really get specific. I think you can see how this works and how much you can do with this tool. And it's really fun. It's kind of addicting. I love the mixer brush tool, so just spend some time with it. You know, find what works for you and what works for your style. Have fun with it. Try all the different brush presets. You know, you might not look like the way this oil pastel one looks. Try all the different ones and remember to save. Keep saving often because you have done a lot of work now and you want to make sure to save . And if you hate what you've done, you always have the original layer to go back to, so you really can't mess up, so just take the time to really experiment. Let yourself have fun with it, get really creative. You know, sometimes photo shop seems like such a technical program, but it's actually can be really a fun and creative program. And I think the more fun you have with it, the Morial enjoy using it. And you know it's meant Some of these things are meant to emulate actual real world painting and drying. But you don't have to beheld those supplies and get messy at home. You don't have to have a huge studio. You can just do it right on your laptop. So just keep going through and adding highlights and shadows. I'm gonna go through and get all of mine in, and then we'll come back and ads and textures. 12. 12. Adding depth continued: Okay, so now that we've got the trump done that we're gonna work on the needles in the same way. So you're just picking another layer that you've created your right clicking and duplicating. Remember, this is just for backup. So we're gonna work on the copy and we're going to turn the original off. We're going to go to the copy and lock the pixels here. So now we can only affect the green that we've made. So I went into and if you lost your colors, you can just zoom in. You go toe I to use the eyedropper, and I'll pick up that green that's there and I'm gonna double click on here. And I'm just going to make a darker version of that for the shadow press. OK, zoom out. I'm to go back into my brush by pressing B, and I'm just going to come in and add some shadows to the bottom of all my leaves. Sad, some shading. That's him to the ends. This one's underneath. So this one's probably gonna all be in shadow shadows here. So I'm just using a big brush, uh, getting shadows where I think the shadows would be, which is on the bottom of these leaves. Now, for your illustration, it could be totally different. So just think about where the light is coming from in your illustration. If you don't have ah light source, you can just make one up. You know, say it's coming from the side or from above. Right now, I'm kind of pretending that if the sun is right above our heads and the sun would be shining down on the leaves, okay. And now I'm going to go back. Teoh Color that I started with the mid ground color. Come in here and at some highlights, maybe make him a little more yellowy yellowy green and at some highlights, make the brush smaller. Someone's gonna add some highlights in here. So we have the mid tone, which is what we kind of started with. And then we have some shadow color and some highlight color that I'm adding. So that's kind of all you need those three colors you already starting with the mid tone and then add in the shadows and highlights later. So you're sort of starting with your like middle ground and adding in the darks and lights on. If that doesn't make sense to it doesn't matter. You know, just do what does make sense to you? Do what makes sense for your drawing style. You can pick totally unrealistic colors. Maybe it's not shadows and highlights for your drawing style. Maybe it's something else where you're giving it a little extra something. Okay, so now that we've got those basic shadows and highlights and mid tones and I'm gonna go into the mixer brush by right, clicking on the brush tool, I'm gonna pick the same one and I'm gonna make it bigger and something Just start mixing them together. So those transitions between the different tones are more smooth and again you I'm gonna do this really quickly just for the course. But you can spend hours doing this. I like to put on my favorite show, our podcast or some good music and just kind of have fun doing this get really creative. It's a lot like painting. I have my background is an oil painting and this is definitely similar. You know how to paint. You can apply a lot of those techniques. If you don't know how to pay, you can just learn how to paint through photo shop, and these techniques can be applied to a lot of different kinds of illustrations. So they're not just limited to this one class. Like, definitely try him out on other illustrations on other types of things. You can do a lot with these really kind of simple techniques, and someone just kind of has to show you how to do it. And then you can take off and really make it your own. So I'm gonna call that good for the mixer brush, and then we're gonna start adding some textures in here. Now getting yours is probably going to be more detailed to construct the video and spend more time. 13. 13. Adding texture: So now we have all our shadows and highlights in here, and I want to add a little bit of texture. This is also going to change the color, so we're going to do the same thing as we did with the line work. We're going to make some clipping masks, so I am opening up. This is another file that I created in creative market that you can purchase online if you want, So I'm highlighting it with the marquee tool. I'm selecting it. Pressing command, See, Coming in here. Pressing command V It automatically makes its own layer going to double. Click on the layer and call it text brown. That's just how I used texture. But you can write the whole word if you want, and then I'm going to hit command T for transform una Just make it big enough to fit my whole trunk on a little bit so you can see. So I'm just suggesting the size here so it fits and then I'm going. Teoh, move this layer so it is right on top of the trunk. Copy that, I me And so the one with all the highlights and shadows that I've been working on holding down the option key scrolling. So it's in between the two layers where the Icahn changes the cursor changes and then clicking, and now that's within that trunk. So I'm going to lower the opacity so we can see it all the work that we've done and this is , you know, up to you how darker light you want to make it, how much of the texture you want to see. Let me zoom in so you can get a better idea. So I just think this adds a lot more interest and detail while still keeping the highlights and shadows that you need. Another thing I like to do is go to image adjustments and color balance. So for the shadows, shadows air usually more cool, and highlights are usually warm, so shadows air going to go to more blues. I want to give it some red, though, to because it's a tree trunk. So it's brown. It's one of darken up the shadows and then in highlights, I'm gonna lighten them up some yellows, see how that looks. No. Play around with the mid tones to you know when you can really make it anything you want, you can get it. Really? Read if the redwood tree really change the colors a lot. You can also come into the layer that you made the shadows and highlights with and do the same thing. Image, adjustments, color balance. You can change it around to get it. Exactly. The color you wanted to be looks pretty good. And if you're not sure if you like the way that looked you can come back in your history and see what the color Brown's change does. I actually think it looks better. You can also take the texture off and see if you like it with or without. I definitely like it with. I think it looks way better. Okay, so let's add some textures to the needles. I'm gonna goto command open and open up some other textures that I have going to make it even Granier. So this is the same one we used for the line work. So I'm just using the rectangular murky, making a selection Hidden command. See to copy coming back in to my tree kidding? Command V to paste on. I'm gonna name the layer right away screen, and I'm gonna do command t to transform Zoom out a little bit so I can see it's over. This wanted to make sure it's just covering all of those. Okay, we're going to make the clipping mask, so just make sure the texture layer is on top of the layer or clipping it into. So whatever color you want into effect, hold the option key scroll between the two until the cursor changes and click. And then first thing I'm gonna do is toned down the opacity so we can still retain all those highlights and shadows that we made. And then it's looking a little blue. So I'm gonna come up to image adjustments, color balance, and I'm gonna bring it back to green. A little more shadows back to green highlights. I'm gonna make green on maybe through a little yellow in there and see how that looks. I think that looks pretty good. And if you go back, created the clipping mask. We change the opacity here and then added the color. So I think that looks pretty great again to play around with a lot of different textures. You can make your own, you can purchase some online I think you can get some free online to whatever makes sense for you. Whatever your style is, just mess around with it. You don't have to add textures. It's totally up to you. You can use different paintbrushes to make textures. If you want really up to you and your style. How fun with it. 14. 14. Saving: Okay, so now you've created this illustration and you have to save it so you can get ready to post it online or print. There's a lot of information out there about how to do this, but I'm just going to give you a basic overview. You can, of course, go further with this. If you wanted to. For your project, you could do a couple different objects. You can add a background and at a Grady in in the background, you can really do a lot. You can layer these up there really versatile toe. Don't just stop with one object. You know, definitely try a lot of different things. Get creative. What I want to show you is how to save in two different ways. So if you want a transparent background, so this checkerboard background means that it's transparent. So you might want to use this as like a logo on a Web site and be able to see whatever the background on the website it is, then you would save it as a PNG. We're going to do a save as, and it's going to save whatever layers are open right now so you can hide some layers, and it's not going to save those layers. So Goto file. Save as and just do the drop down to candy and hit safe. I'm gonna cancel. It's a pretty big file that we've made. So that's for like, ah, high resolution. Maybe if we're going to print it or you want it to look super high resolution. Now, if you're doing something for a website and you don't want it really bake, you can come up to image, image, size and four websites. You want it 72 and you can change the dimensions here. If you have a specific size, you want to make it press. OK, gonna take a while because it's a big image on all Zuman, so that's 100%. So that's what it's gonna look like and goto file, And if it's any bigger than that, it will be pixelated. Goto file Save as, and you can call it whatever the name is and low rez and make it a P and G, and that's going to save the PNG is going to save it with the transparent background. I'm gonna cancel again. Then, after you save that small file, come back in your history to get it back to the original image size. Then, if you want the white background on it, you can save it as a J picks the same thing file. Save us and just to the drop down to a J peg. And there's a ton of different file types. I think PNG and J pay are the ones you're going to use the most. You definitely want to keep your photo shop PST. File it with all your layers and it if you want to go back in and make changes. It's important to keep that I usually save mine too. High resolution files in a PNG and A J peg, And then I make it smaller and save to lower resolution files as a PNG and a J peg in the small one. And that's just up to you. You know, there's a lot you could be using it for. If you're using it for print, you definitely want to have the high resolution. If you know you're never going to print it, you can just have the low resolution saved and your PST file so you can make changes later . That's really up to where your image is gonna end up. I think it's always good to have a high resolution file and just have it saved. You never know what you're going to use it for. You can use it for other things. And I also think it's great to have a PNG with the transparent background because then you can take this tree. If if you lose the photo shot file for whatever reason, you have this tree with a transparent bracket background, and you can bring it in to other illustrations. You can add it to things you know you can reuse it, and that could be really helpful and a time saver. So just remember, before you save your PSD file, always go back into the highest resolution and save it. The PSD file is the highest resolution, all right, if you have any questions about that, let me know. But make sure to post your image. I can't wait to see the final image of what everyone's done in all your progress along the way to make sure to post your final image and post any questions that you have 15. 15. Goodbye and THANK YOU!!: Okay, We finished. You made it. Congratulations. Make sure, Teoh, treat yourself. You've worked really hard. These are not easy techniques to learn. So give yourself time on. Really let himself experiment. Trying things. I can't wait to see what you created. So don't forget to post your project to the project page. Really? Want to see what you need and ask me any questions that you have. Go back and watch some of the videos on number two. Look at that. Pdf, you can you always have that as a reference downloaded and keep it. It's yours. And make sure also follow. Still share. So you know, when I put new classes have tons of ideas for different different classes. So if you follow me, you look at updates whenever I post something new. Thanks so much for being here. Had a great time. I hope you did too.