Photoshop and Illustrator speed illustration workflow | Widhi Muttaqien | Skillshare

Playback Speed


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

Photoshop and Illustrator speed illustration workflow

teacher avatar Widhi Muttaqien, CG expert & entrepreneur

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

30 Lessons (4h 35m)
    • 1. Introduction

      2:52
    • 2. Drawing tablet setup

      12:22
    • 3. Photoshop setup

      3:51
    • 4. Brush settings

      9:25
    • 5. Custom brush

      7:59
    • 6. Tool preset

      11:09
    • 7. Our basic tool presets

      12:55
    • 8. Illustrator: Managing stroke width

      3:46
    • 9. Illustrator: Line artwork strategy

      5:12
    • 10. Illustrator: Line artwork project example

      8:06
    • 11. The workflow

      5:53
    • 12. Sketching

      11:20
    • 13. Tracing the alien

      13:08
    • 14. Tracing the environment

      14:31
    • 15. Coloring the alien

      12:21
    • 16. Coloring the environment

      6:58
    • 17. Exporting to photoshop

      10:10
    • 18. Shading the alien

      12:05
    • 19. Highlighting the alien

      11:41
    • 20. Detailing the alien

      7:56
    • 21. Shading the environment

      10:43
    • 22. Midground details

      10:30
    • 23. Finalizing the background

      9:05
    • 24. Global shading the environment

      9:03
    • 25. Global shading the alien

      10:51
    • 26. Visual effects

      9:01
    • 27. Color correction

      8:10
    • 28. Outline

      9:53
    • 29. Alternative texturing methods

      11:32
    • 30. Workflow flexibility

      2:58
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

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

551

Students

--

Projects

About This Class

Adobe Photoshop is the industry standard for editing raster graphic as Adobe Illustrator for vector graphic. Tired of having to choose between the two when creating your artwork? Well don't! Why not combine the best of two worlds, vector and raster in a single workflow?

This course will teach you to harness the best tools from Photoshop and Illustrator and how to combine them together in a seamless workflow in creating illustration.

This course is not designed for beginners. If you never use Photoshop or Illustrator before I strongly suggest you to take these 4 courses first:

1. Photoshop CC introduction

2. Photoshop speed illustration workflow

3. Adobe Illustrator : Vector Illustration fundamental

4. Adobe Illustrator : Advance Vector Illustration

The skills you’ll learn from this course will not be applicable to illustration only, but they will be beneficial for you when you need to work on other type of graphics or artworks such as: UI design, logos, icons, game design, creative advertising, etc.

Meet Your Teacher

Teacher Profile Image

Widhi Muttaqien

CG expert & entrepreneur

Teacher

Widhi is an entrepreneur in creative industry. He has master degree in information technology and business management from Bina Nusantara University. Beside doing business he is also a lecturer in computer graphic related disciplines in President University Indonesia and Lasalle College International.

In his more than 20 years of experience in the CG industry he finished hundreds of projects with clients from all over the globe. He has been producing thousands of CG images and animations. His deep passion with computer graphic leads him to dive into 3D visualization, animation, game development, video and motion graphic.

See full profile

Class Ratings

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

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

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

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

Transcripts

1. Introduction: assalum aleikum. My name is video talkin have been teaching computer graphics since the year 2000 and also founded so far, all creative based companies such as Blasted Code and Exposed three D in computer Graphic World. There are two types off graphics, Raster and Vector. Both vector and raster Graph. E has their advantages and disadvantages. In these scores. I will show you how to combine the best off the world's vector and raster in a single workflow to create illustration fast for dealing with roster graph e. We will use Adobe for a shop and for a vector graphic we will use Adobe Illustrator. I must warn you, though, these cars is not for complete beginners. If you never use for the shop or illustrator before I suggest you to take my previous four courses before taking this course. The first course will give you the basic knowledge of photo shop and the foundation for the second course. The second course. We'll give you the advance skill toe, create illustration in photo shop and all the necessary skills to take these cars in term of for a shop tools. The third cars will get you the fundamentals off walking with Adobe Illustrator. These cars will prepare you to take the next course, which is the four course where you will learn the advanced skills for creating vector illustration. Okay, after you took all of these four courses, then you should be ready to take these cars. This is where we combine for shop and illustrator together to create digital illustration fast. We're going to create an illustration from scratch using all of the techniques we've learned in previous lessons. We will start from sketching Move on to coloring than shedding, creating line artworks text during so finally adding color correction and visual effects. These is the final illustration that we will be making in this course the workflow. It's not like conventional digital a painting method. It follows modern to the computer graphic concepts. It is non destructive and modular, so you should be able to adapt it to suit your own style. The skills you'll be learning from this course will be applicable to other type off artworks such as you. I design logos, icons, creative advertising, etcetera. So join now and leverage your graphic skills to the next level. See you on the other side or Salam alaikum 2. Drawing tablet setup: in previous lessons, we have covered how to create illustration using only our mouth. From this point forward, we're going to use pressure sensitive device such as welcome tablet. In this video, we're going to learn how to set up welcome tablet to make it fit with our illustration workflow. Also, we are going to create suffer adjustment toe for a shops you I and shortcuts to make our drawing process even faster. Now, if you're using other brains such as Huayuan or handphone or Microsoft Surface, most off the setups will be generates. So I believe you should be able to copy the settings with your own devices before moving on some off. You might be wondering why is using pressure? Sensitive device is very important for graphic artists to answer this question. Let me just show you how it it's like growing with only mouse. First us using pressure sensitive tablet such as Wake on. Currently, I am using my mouse. Let me pick the brush tool and choose heart age brush. Now I want this brush to change its size based on a pen pressure. To do that, I need to turn this option up here. Okay, now watch when I do this with the mouse, as we expect that the brush size stayed the same. Okay, now I'm switching to my welcome tablet. Notice aside, row stroke with different hand pressure the size off the brush change accordingly. Okay, and not only the size. Using this option up here, we can also tell the brush to change the opacity dynamically based on a pen pressure. Another advantage off using pen pressure is, well, the pen shape. Our hands are likely be more familiar drawing with pen than with mouse having something in a tape off the fingers, although US toe have more control than something that we grab in our palm. So from this example, we can see big differences when working with a mouse. Force us working with a pressure sensitive pen. If you are new to using welcome tablet, you may need to adjust it so it works perfectly with your own style or preferences. To adjust the settings you need to open welcome Tablet properties application. Now this application should be included in a box along with your product. If somehow you don't have this application, you can always download it from welcomes official website after you have it installed. Yes. Open the application. You will say something like this. Let's discuss this area with three rows off panel force. The first role is where we have all off our welcome devices listed. I have one plugged in tow my PC now, which is the's in towards three. I own this model from more than 10 years now and it's still working. Great. Even the pen nib or the plastic tape off the pen is still the original one for 10 years. It doesn t great or anything like that. So I guess my old welcome tablet is the living proof off where cum tablets quality. Okay, now, depending on your device, you will have different settings. Don't here. Basically this role depends on this roll out here. We can see these two components Don't here because up here I have selected this device. So in here we have this hierarchical structure in the U I you, for example I pick the function panel in here. Everything below this role will change. Now we are talking about these buttons in my tablet. But if I click the spend everything down here is talking about this pen. Okay? I'm sure you'll get the idea. Let's pick the pen for now, as the pan setting is more general than the tablet buttons. Okay, After selecting the pen in the third row, we can specify the application if none are selected. Are If you haven't specify any application, these all other option will be applied. So you see this row in here we can have different tablet behavior for different application in our computer. If, for example, we want to create a profile for photo shop, you need to make sure that photo shop is opened first. So the welcome properties can detect it automatically. Notice if I click this add or a plus sign button in here for a shop will be listed in here . Select it and click the OK button. As we can see, the app are now list that as custom app in this role. Okay, Now, if I select this photo shop up like this and make changes, don't hear all of the changes later will only applicable or active when we are walking inside photo shop our side for a shop or in other application. The settings will not be used as welcome will use the sad things we have in all other preset in here. Instead, let's discuss the settings for the bento at the Bento lab. We can see that I set the field setting toe almost firm the third from the right. This actually controls how sensitive you're welcome to your pressure. If you want to go even further, you can click this customize button and we can see the curve by default. The curve is straight. Basically, the harder you press which is this way to the right, the higher the output, which is up here. Now there are two things I want to change because I tend to use Wycombe Pen lightly. Meaning? I don't want to press too hard on the pen just to get declines or opaque brush. Therefore, I direct this note to the left a bit with this to get full output result, I only need to press until maximum at 80 or 90 pressure level. Perhaps it is this something that keep my welcome still in good condition, even after more than 10 years off usage. Okay, Next, select this point on direct slightly towards the bottom right area. You might be wondering Now, why am I doing this well, because with this girl, it will be harder to get high pressure that's making my line growing looks better. I found this curve suitable with my hand characteristic. Feel free to try it out and make your own custom curve if you want to. For DoubleClick distance setting, I said this at the Center for Third Sensitivity. I generally don't you spend tilting in my world floor so any off the setting will do. But I lived the setting at normal for men. Broker button, the bottom one is said to rightly, and the upper one is set to double Klay. This way we can finish polio lasso selection fast but expressing on the stop button next, the rest are setting. I don't typically use Eraser tip on the pen because I find it too slow compared pressing in keyboard to switch to erase of tool. So I left the settings toe. It's the fall. Let's move on to mapping now for mapping. Of course, you always want tohave landscape in here unless you have special monitor that can be tilted and you like working in portrait mode. Next is the mode. There are two modes here, pen and mouse. You always want to use pen mode for tablet devices. If you use mouse mode, the pan will behave exactly like the mouse or attract plan. So there are no mapping between your tablet and your monitor. If you move your pen or the tablet surfers and then lived up and move again, the cursor will continue moving from where it left off before Now. This condition, really, it's not ideal for growing in the pen mode. The distant ratio between the screen and the tablet will be consistent, and this will make our brain and hence muscle able to co ordinate better and become accustomed to it much faster. So again, I recommend you to use the pen mode and not the mouse mode. Okay, said the screen area in a tablet area toe full. But turn on this forced proportion option. This will help also to improve our hand coordination. As you can see, I have a very old welcome tablet that has four by three size ratio because back then, 10 years ago, most monitor screen has four by three resolution. Currently, my display is a modern full HD monitor, which has 16 by nine size ratio, basically much wider than all four by three Standard monitor. Therefore, we can see some area off my tablet not being used, and that is totally fine. If you on newer fashion off Wickham tablet. Most of them are 16 by nine size ratio, so you shouldn't lose some off the tablet part like what I have here. Next we will discuss the function buttons now, depending on your welcome device, what you have in here might be entirely different for the function buttons. I only need to set up five buttons. Three buttons is important to our workflow, and the less two buttons is just a nice feature toe have because we can replace it with a keyboard. So click on the function buttons in here create a new profile Jews Photo shop First Queen. It a way to control the brush size. For this, I'll be using the touch strip in my welcome tablet. If you have newer in towards pro Beckham tablet, you can program the touch ring for this Jews keystrokes for this for the up movement. Clicking here impressed the closing break up key for the dawn movement. Press the open bracket key. Name our set up in here with brush size and then click the OK button. Next, the buttons or the express keys again. If you have different welcome product, just find any experts key position that you like to set dysfunction. For my case for this button, I'll set it to keystrokes, clicking here and impress and hold out, then crossing record and then release the out, then press the letter named is to a player. Basically, the key stroke in Welcome Tablet properties is like macro key setting in gaming devices. If later we click on this button for a shop, will select layer on top off corn layer and change the tool to brush automatically. So that is why we put being there. B is for the brush toe shortcut. Next, we need to do this also with this button juice keystroke clicking here, press and hold out and then pick the opening Brecher. Then press w name this macro. Keep reset as down Leah. Okay, this button later will select layer below the current layer and change the active to toe magic. One tool. This is again because or workflow require us to create selection from the base color layer . You see the magic one tool for this button and this button. These are not very important for our workflow. But I changed this toe modifier, key and just Schiff. And this one is modifier Key. Also with your spout. Later, we can use these keys instead having to click on a keyboard. We can use the magic one tool plus the Schiff or the alky modifier in here toe. Quickly tweak the resulting selection for the pop up menu. I don't use welcome. Spoke up main you that much. So I will skip this part and move on to setting out for a shop. 3. Photoshop setup: after setting up our welcome tablet, It is time to make our photo shop works faster. Based on our workflow, your first thing we're going to do is to set up the shortcut. Now we'll be using color picker lot when growing illustration and moving our mouths, or are Wycombe Pen Back and forth to this location is not that convenient. There is actually a shortcut to quickly open the hard color picker and that will be shift out and right, click and hold. If you do this with the mouse, it is very snappy. But I found that this hot color picker is not that responsive. When you sing Welcome pen. You need to hold Schiff and out and then right click. But then you need to move it around to make the hard color picker to show up Orender, use a keyboard shortcut to call the color picker. We know now when working with welcome tablet like this. If you are a right handed person, your right hand will be in this position in your left hand will be in this position. So basically your left hand Arlen towards the left side, off the keyboard. So that is why, when picking key leaders for our custom shortcut, it is a good idea to find the ones that are positioned at the left side, off the keyboard, near the position off our left hand. Of course, if you are left handed, you might want the other way around. But you will understand the concept here. Basically, we are aiming for speed workflow. Okay for the color picker a shortcut. I want to use the land of Z. Why? Well, because it is located at the left side, off the keyboard and also by default. Z is used for the zoom tool, which we never use because we use the space bar key combination to zoom in and zoom out off the canvas to override the keyboard setting. We can go to edit menu people, shortcut and make sure this is said to tools. Scroll down until you find a foreground color picker clicking here and impressed the letter Z. You will get this warning because Z already used for zoom as default, Click the accept button up here. Next we need to change the polygon lasso tool pressing l is too far away. We want to change the keyboard shortcut for polygonal lasso tool to letter. See, the process will be similar. Just find a poly lasso tool in here. Click in here and type letter C in a T board. Except the last step we want to do is to make our you I more convenient. We want to move the tools panel to derive why? Well, you see me before moving back and forth between the layer panel and it'll spend all right, it's just too far away. So just grab this panel header on drag it to this area. There you go. Everything is at the right side. So you don't need to move the cursor back and forth across the screen all the time. The less setting is optional and that is over riding this much tool keyboard shortcut with leather ass key. Why is this optional? Because later we can access this much tool of iron toe preset. So having a short cut for this much tool, it's not really that urgent. But for my set up, I will change the so much to shortcut to letter s by default Letter as key is said to clone stamp tool. But we will not be using clone stamp tool in our workflow. So for us, it will be safe to use the letter s key. 4. Brush settings: in this video, we'll be dealing with brush shut things. But before we talk about brush settings, I want to explain for us about the hierarchy off brush related presets. This is important. Avoid confusion later. Down the road, the first basic level off presets is the brush presets. Now, in photo shop, there is no clear separation between the term brush presets and brush tip presets. Well, there is, actually, but people usually get confused differentiating between the two terms abusing the term brushed the presets to make things more clear to you. Okay, Now let's open the brush panel. What you see in this panel, which is this area here, is the brush tip precept, not brushes. Notice we have this brush tip shape selected in here. If we have other category in here selected, for example, ship dynamics category, we will have different parameters. At the right side. The brush tip basically controls the shape of the image coming out off the brush tool. There are three types off brush tip, standard image brush tips, dynamic brush tips and round brush steps. The image brush tip is just a raster image assigned as a brush tape. We can create this kind of brush tip from scratch. If you look at the brush presets in here, any brush tips that has a custom image like this one or this one, these are all image brush tips. Okay, The second type off brush tip is the dynamic brush tip. This brush tips are unique because instead of using raster image, it actually simulate real brush physical behavior in visual treaty environment. If you look at the brush depreciates in here, you'll see brush tips with bristle icons or airbrush Aiken's or Pencil Aiken's. These brush tips are the dynamic brush tips. You cannot create custom dynamic brushes. You can only pick from existing dynamic brush and tweak its parameters because it is simulating the brush in three D. It's support plan tilting. Let's speak this bristle brush, for example. I'll make it bigger so we can see it better notice. As I tilt my welcome pen, the brush tip will tell. Also, virtually Let's try these air brush brush tip. Make it bigger. Also notice. As I change the angle off my pen, the brush will follow. The Turk brush tip is the Round Brush D, which is basically a dynamic brush tip also, but it doesn't have any physical behavior, like the bristle brush or the airbrush steps. We have used this round brush tips before and will be using this round brush tips again for our illustration workflow. What is unique about this round brush is that we can adjust the hardness off it. Low hardness value will make the ages blurry. High hardness value will make it sharp. We've discussed this before, so let's move on to the other settings. The flip check box in here. We'll flip the image. Of course, we cannot see the difference here because our brush has circle or shape. So let's speak this brush that looks like leave and then play around with the spacing value down here. The spacing value will determine the distance between image generated by the brush. Make this value bigger toe almost 100% so we can see each brush image. OK, notice every turn on this flip axe. It will flip the brush tip image horizontally. If I click on this flip, why it will flip vertically next the angle and around us, we can change the values from this input fields or we can do it from this box to change the angle. We can write this arrowhead and to change the wrongness we can write this notes. The next level off presets is the brush presets. A brush preset contains a brush tip and many other parameters that control the behavior off the brush. The settings off the brush can be tweaked in the brush panel. As we can see, we have ship dynamics scattering texture and so many other categories in here that we can control. It will take too much time to discuss all of them in this video. So we will discuss on Lee the most important parts off brush settings and let you explore the rest off it yourself. First, let's see the ship dynamics category first. In this category, we can specify things that are related to the shape off the brush off. Here we can see size Jeter. Now, the word Jeter means differences are randomness, so size Jeter in here means the randomness of the brush size Notice. If we direct this fill you up, we can see in the preview. Don't hear that the brush size becomes very the control section in here will determine whether the size off the brush is controllable or not. If we set this to off, the brush will always be at the same size. If we set this to pen pressure, the size will change based on how hard we press the pen Now. This setting later can be overrated by this button up here in your option panel. There are other settings that we can use in here, such as Fade. Fate will always make our brush size become smaller based on the distance value. We can change the distance failure in its input field. Panty Oh will use the pen tilting to dictate the size, and we can also use the stylist wheel to control the brush size Now. Generally, you're not going to use all of these options available. Excepto options. Either the pen pressure or just turn it off. That's it. Okay, these controls the minimum size off the brush, the angle jitter well, randomized the angle off the brush tip. To see this effect, we need to pick another brush tip. Let's speak the lift brush tip again. Notice. As I direct this value, the orientation off each brush tip will be randomized. We can control the angle with this option in here. Most off these auditions are the same except several off them. The rotation is based on your pen rotation. Currently, I cannot show you this feature as my old welcome tablet does not support penalty ation. Next is the initial direction and direction. Let's see the direction first with direction turned on. If he drove like this, notice the orientation. Always follow the direction off where we moved to brush. If we set this to initial direction, it will only detect the first direction and stick with it across the brush stroke. I think until now you should already understand the core concept off how brush settings work. I will skip this roundness setting on. Move on to the last setting, which is scattering. Scattering is basically the randomness off brush position. As we can see. When I increased this value more off this brush, images are getting spread out from its original location. By default, the skater works perpendicular to the brush stroke direction, so it only happens this way. Not this way. But if you under scattering toe happens this way also, then you can turn on this both access option of here. The control option is basically the same with previous settings. The Khan value in here determine how many brush images coming out at a time by default it this one image at a time. If we set this to to, for example, we will have more dense result is the brush toe generates twice the image than before at random position. The bottom part control the conjurer value and the control of it. Now for the rest off the brush. Say things. You can experiment with them and see what kind off brush effect you can create. You need to be aware that although having a lot of dynamics with your brush a school and sometimes speed up your growing process, but it will burden your computer performance, especially if you are working with high resolution image and you use large size brushes. In this scenario, you may experience legs or latency, so keeping the brush settings to minimum dynamics is always a good idea. That is why, in his course, we try to make our brush is as simple as it can, but still functioning as we hope for. We're going to discuss custom brush creation in the next video 5. Custom brush: creating brush in photo shop is actually very simple. All you need to do is draw the shape, then selected and then define it as a brush. Let's see how we can do this. For example, we want to create a brush that looks like a generic leaf. Let's create a new layer force just political tour. Make sure it is settle path, then create an ellipse like so goto mental by oppression Letter B and then hold out and click on this node to confirm it toe a corner point. Now hold control, then wrecked this handle slightly to the left while doing so. Hold shift so the movement is constrained, or recently, and this one also next. Just select both off this anchor points and move it slightly to the left. Also, if you want, you can watch them. And that is using the left arrow in a keyboard presents A for our times until you like how the ship looks press control, Enter to convert it into a selection. Now go to the Grady in Tool Press D to make the color default so we have black color in the foreground color. Just the second Grady in color precept, which is foreground to transparent, preset Klay and hold in here moved amounts to the left while holding shift So the Grady in is straight horizontally. Then release the mouse. Now, while we still have the selection like this, Goto added menu and choose this command. Define brush preset named the brush toe. Any name you want I'll never it here live generic A. Okay, Our newly created brush is no active Go to brush tool and then opened a brush panel. If we go to brush tip shape up here As we can see, we already have the brush deep inside the brush presets we know and currently it is active . With this brush, we want to create only one leave Each time we drove the brush in canvas. So for the spacing we wanted toe have large value. Let's just make it 500%. Okay, Now go to ship dynamics and in the angle control, choose direction. This will make the brush tip shape the Orian to our stroke direction later for the size deter. Let's make it 20% for the minimum die matter. Make it when the person also, if you look at the trans. For dynamics this option control the opacity based on the pen pressure. Now go to transfer dynamics. Make sure the opacity control is said toe pen pressure and minimum opacity is set to 20%. Now this opacity settings will not work correctly if opacity off right button in the option panel is on, so make sure this is turned off. If this is on any value we put in the minimum value, we always go back to zero. Okay, now, if he drove or stroke like this in a canvas, we get one live like. So if you like. How do brush behaves? Remember to save the brush settings. Otherwise, if we just another brush, the settings will be gone forever. To save the brush, simply go to the brush panel and click this button down here that say's new brush preset type, the same name that we have before auto brush. It's now safe to see all of the brush precept we can go to brush presets. We know this is our new brush that we have just created this all the aversion off the brush is not needed anymore, so let's remove it fried. Click on it and choose the lit brush. Click the OK button. We can use this brush toe quickly and leave details. Toe a tree drawing. In this example, I already draw three. The process is identical to how we create the airplane. Now, using our lift brush, create a new layer, press out and clicking here to pick the color. From that point, let's make the color brighter, and I just brush like these to create the leaves. Details on this three illustration. Let's create another custom brush example. For this example, we're going to create a colorful balloon brush. Let's open the brush panel in a brush tip shape. Select the round harp H brush, then said the size to a 60 big sauce. Make the wrongness toe. About 80%. Make the spacing toe a very high value. Around 250% will do great. Go to ship dynamics and make the angle Deter. 100% Turn off the control in a scattering category. Changed a skater value toe 500%. Then this is the most important part to make our brush colorful goto color dynamics and said the huge ITER value to maximum 100%. Make sure the other dynamics are off as we don't need them. Now pick any color that has high situation. I'll take a red color in here. Create a new layer. Change the brush size as you like. What is when I brush like these? We get colorful balloon shapes or Candies. That is, if you want to create Kendis Now, when creating these shapes, try to avoid touching or offer lapping shapes because it will be harder to create the highlights later. If the shapes are touching together, you can create different layer for each stroke. If you need to avoid or flipping shapes for row are just use one layer and try to make the shapes number low to avoid. Offer lapping. Okay, now go to the layer style and ed Careful and ambush style said the soft in value to maximum , said the light position Toby around here. Okay, now, if we want to make balloons, we can reduce the opacity toe 80%. The last step is to add highlights on the drawing. We can create a new layer, hold control and clicking here to extract them into a new selection. Now we want to make the selection a bit round and smaller. So go to the select menu. Modify smooth. Try 20 pixels for now. Okay, I think it looks smoother. Now. Go to select menu again. Modify juice contract and type in 15 pixels. This will strain the selection 15 pick sauce. So we have smaller selection. Radiance. Make sure the background color is white. Then he'd controlled lead toe. Feel these selection with white color. Use the move toe to move it up a bit and slightly to the left. You can adjust your capacity again if you like. If you are satisfied with this brush and want to save it, just click this. Create new brush button and named the brush toe balloon, for example. Okay, so that is how you create custom brush and saving it as a brush preset and also some practical usage off using custom brush 6. Tool preset: we have talked about brush presets and then brush presets. Now we're going to talk about something that is above brush hierarchy, and that will be the two presets. The diagram. It's like this brush tips is at the lowest hierarchy. Basically, it only contains the information about the tip shape off the brush. We can find a brush the precept inside the brush panel when we opened the brush tip shape category in here. So this is the brush tip. The next level of hierarchy is the brush presets. Brush presets contain brush tip and other bunch off informations related to the brush dynamics. Basically anything that you set up in a brush panel in here, Can we save as a brush preset? The brush presets itself can be accessed from this brush preset panel or when we use the brush tool and do rightly we actually opens up the brush presets panel. Another way to access the brush presets is from the option panel up here as we have discussed before. Okay, what we're going to discuss in this video is the upper hierarchy off the brush preset. We just the two presents two presets can contain information off the brush, plus, with all of the settings off here in the option panel and also the colors if you want to save them. Also so again, basically to precept will self to brush, tip the brush settings and the settings in the option panel up here and plus optionally the colors to save the tool settings as a tool precept. We need to open the to present window and then click this create new toe precept button. Don't here, or you can actually save it from this boudin panel in here at the option panel and click on this button. As we can see, this pull down panel is actually the tool preset panel just like this one. After you click on that button, you will be prompted for a name. I actually don't want to save any two settings for now, so I click this cancel button. Now you need to understand the tool presets is actually not just for brush tool. Basically, any tool inside photo shop can be saved as to preset, so you can save those settings for marquee selection, toe crop, toe eraser tool, a cetera. Any tools in a photo shop can be saved as a tool preset. We'll cover the brush to appreciate in this lesson, and later in the next video, we will create tool presets for Eraser Tool and Smart Tool. Now let's discuss what are the parameters that can be stored inside a tool preset if we are using the brush tool. If we have a brush to active, we can see the blending mode up here in the option panel. Now this planning more in here is different with the blending mode we see in the layer panel. This blending mode controls how to brush behave when painted on top off existing pixels, so the effect only happened in a single layer, not multiple layer. For example, I'll use simple round brush in here. The color from the swatches panel had some brush strokes in here. Now, if I change the color and pain, it will just cover the previous pixels. This is due to the blending mode in here is set to normal now what? When I change these to multiply, for example, the previous peak sauce will still be feasible but darker. If your screen and then stroke like these, anything touch will become brighter so bad is how brush blending mode works. Typically, I stay away from brush blending mode and make use off the layer blending mode instead. Because I always dro shedding on separate layers. We'll discuss about this more in depth when creating the character illustration project. We've talked about capacity before, so you should already understand that this opacity of value in here controls how Lopate the brush will be. But we haven't really discussed the flow value. So what is flow actually to make things simple? Flow controls how much capacity each image generated by the brush in a given time, while opacity controls the whole transparency off the resulting pixels globally at a glance , they are similar, but they are not. If using opacity, for example, 30% press D to get a black color. When I grow like these, as long as I hold the mounts or pressing the pen, I cannot build up the strokes toe pure black. The only way to get black or full opacity is to release and stroke again multiple times again. You cannot build upto black color with a single stroke. As for a shop will kept it at 30% opacity. Now let's switch the setting, said the opacity toe 100% and flow to 30%. Watch as I stroke the brush like these. Even if I do this in a single stroke, I haven't released my pen. I can build up the color toe black. OK, so clearly see what flow value. Actually, due to our brush, we need tohave hard brush tip. Let's set the float 100% 1st By the way, the shortcut to change the flow value is holding Schiff and in fresh numbers key on the keyboard to get 10% flow. For example, whole Chief and embraced one to get 50% flow value co chief and impressed five. So it is like the opacity shortcut. But you've seen the shift key modifier. If you don't hold shift, it will change the opacity fl you instead. Okay, let's get back to our main discussion now Maybe opacity toe 100% by pressing zero Kino keyboard. Then hold Schiff and zero to make the flow Also 100%. Now, if we grow like these, as we can see, they are very thick. If I change the flow to 10% This is how it looks like. So each brush tip generated by the brush tool will have 10% opacity because it only controls each brush image, not the whole stroke. We can build up the image to black in a single stroke. Opacity Valley, on the other hand, controls the whole stroke capacity globally. Let's change the opacity toe 20% and flow to 100%. So I repeat, we have 20% opacity now and 100% flow. OK, notice as I brush and move this around, we cannot see each brush tip generated by the brush because the opacity works on the whole stroke. Therefore, we cannot build up color in a single stroke. You need to do multiple strokes in orderto buildup. Okay, Now the big question is, which one should we used? Opacity or flow? Well, it really depends on your preferences. If you are like me, I tend to do brush release brush release movement as this give more room to the undue system so I can carefully go back and forth in time later if I made a mistake, because off these are prefer using opacity, not flow. But if you like to direct the brush and keep adding colors in a single stroke. Then you should go with the flow. Go with the flow. Yeah. Okay, guys, that is the difference between opacity and flow. For the rest off the lesson, I'll be using opacity instead of flow to create all off my brush presets. Well, all except one brush setting, which is for pencil. But mostly I use opacity. You can later replaced the opacity value control toe flow fail you control for your own brush. Just try them out and see which one you like. The less option panel settings we're going to discuss are these toggle buttons. We've discussed some off them already, but let's review all off them again. Right now, this button will override the brush setting, so our pen pressure will dictate the opacity to see this in action. Let me open a brush panel. Make sure the transfer category in here is off. Because in the transfer category, we have control for a porosity value. Okay, so just make sure it is turned off, as we can see. Although I press the pen in varying pressure, you opacity looks the same. Now watch as I click this toggle button, we can see in the brush panel the transfer category become active and the opacity control issues ng pen pressure. Now, if I click in here again, it is off. Okay, so that is what the button actually do under the hood. It's overriding the opacity control in a brush setting. Next is this toggle button. Now this one will offer right the brush size control. If I stroke like this, nothing happens. I mean, the brush size or the stroke with are all uniform notice. If I click the struggle button up here, what will happen in a brush setting? The ship dynamics turned on and the size is now controlled by the pen pressure. Now, if I draw like these with different pressure level, we can get variable with a stroke. The less Togo button is the airbrush buildup style button. If we turn this on, it will overwrite this wilt up, setting in a brush panel what it does. It will make our brush behave like an airbrush, meaning. If you press and hold your mouse or your pen, the color will build up just like an airbrush in the real world behaves. If we spray with a really airbrushed in the same spot, cholera or pains will build up in that location. So for those of you who are familiar with airbrush and already comfortable painting with airbrush, you may want to use this feature. Okay, now, for this airbrush style toe actually works, you need to have the flow value below 100%. Why? Because at 100% the colors will already built up in the first click or stroke. So there is nothing you can wilt up anymore. Let's speak a software on brush. For now, Lower the flow. I'll set it to 20% and make sure the airbrush button is on. When we click and hold like these, we can see the colors are building up gradually. 7. Our basic tool presets: in this video, we're going to set up our tools using the tool preset in photo shop, abusing basic round brush tip for the whole tours. It's not that I forbid you from using other brush tips, such as the dynamic bristle brush or any custom image brush. No, not at all. In fact, I suggest you to play around and experiments with those broad steps. I use only the round brush steps in his cars because I want to make this course simple and easy to follow. Also, the round rusty, based on my experience, is the less demanding but our steps in term of computer performance. So for students who have lower spec machines can follow along without any problems. And the third reason is creating a very specific customized brush, not always work for everyone. If we create a custom brush, then that brush should work for us. As expected, it fits our workflow and it fits our illustration style. But that brush might be useless for other people, which prefer different workflow are different style. So having just a regular generate a round brush will make sure that it will work perfectly for everyone. Okay, let's open the to appreciate panel. Now, before we begin creating two presets by default for a shop will show a lot off their fault presets in here, which we don't really need. If we turn off this current tool only option, we get to see even more tool presets. We want to get rid all of these presets so we can concentrate only with our two presents. Don't worry. We can always bring back the default presets later. Although I doubt we ever need them again. Now you can select one off the preset, then click this trash Aiken to delete the current tool. But you can only do this one at the time. It will be inconvenient. Dream of a lot of two presets like these to remove all of them at once. We can click on this option I can in here Jews preset manager. Click on one off this preset, then press control a selector more and then click this delete button and we are done. Okay. The 1st 2 brushes we're going to create will be used mainly in sketching process. First the pencil A brush for a shop actually has a pencil tool. If you press and hold the brush toe. We can see the pencil tool in here. It is like the brush tool birth with so many limitation. As you can see up here at the option panel, we don't have any control for flow nor option for airbrush style. So basically, we're not going to use dispensable tool and prefer the brush tool instead. Okay, go to the brush tool Opened the brush panel Selective default around deep. Either this one or this one will do no problem. Then in the size input, make it 10 pixels, these real beautiful size. And of course, we can always change the size later when using this brush. So again, this failure will not be a dead value. Change the hardness toe. 50% said the spacing to 40%. Okay, next go to ship dynamics category. Make sure the size is controlled by the pen pressure. Max. The trans for category change the flow to be controlled by pen pressure. Next, don't Here, you'll see smoothing option. Basically, this option will make our stroke drawing smoother. This can be very helpful if we have a train more hen. I always turn this option on for all of my custom brushes. Next, change the opacity up here. So 70% and finally that's opened a color picker and choose grayscale color with 20% for the brightness to self days. As a tool preset, we can open the 2% window and then click on this new toe preset button. Turn on include color option in here. Name these toe pencil. I like to call it We d underscore pencil in here because I want to differentiate my tool from the rest of the two preset in photo shop. Just in case I don't loaded another tool presets or low the default presets Again, with prefix name like this, it won't be a problem finding my tool presets again later. You can use your own name as prefix if you want. Oh, okay. Now that we have our pencil brush finished, let's move on to the ing brush. The ng brush is used for sketching. Also disliked a pencil brush. The difference is the in brush will use full of black color just like the thing in the real world. We can use this brush if we need to stroke an outline from a path Also, we can do quick fix toe outlines with this brush if we need to. Okay, So to create the ink brush, simply choose the round hard H brush, and that will be this brush. Go to the brush panel. Change the size toe. 15 big sauce, turn on size. Control up here. Change the opacity to 100%. And there you go. We have the ink brush. Save the school present. Turn off. Include color on Let's name it Inc as before are nameless, weedy underscore ing just so I can differentiate this brush with other Photoshopped toe presets in this section, we're going to prepare all of the tools for adding depth to our illustration. There are three main tools for this. The shed tool, which will be used for adding smooth gradation off colors useful for shading and highlights detail. Brush, which we can use to add texture, cracks, grout and all detail. Related graphic elements. Toe are illustration and the last one is so much brush where we can use to drink around and blur pick sauce useful to add. Final touches are fixed to our growing okay, so let's focus on a shed brush first. This is the main brush we're going to use to shape our growing to create this shed toe crease. Here, make sure we are in a brush tool just the rounds off brush. Let's go to the brush panel. Change the size toe. 150 pixels go up to the option panel. Change the opacity to 20% and, in turn on the opacity. Been pressure control in here, and that's it for our shed brush. For the simple right self. This as a to precept name it. Shed our name mind, toe reedy, underscore shade. Next is the detail brush. The main idea off the detail brush is to complement the shade brush. The said brush is a brush, which its opacity can be controlled by the pen pressure, and the size is relatively large and fixed. The detail brush, on the other hand, is small, and a pen pressure will control its size, not its opacity, so rightly. And let's speak a hard H brush. Order soft brush. Go to the brush panel, open the brush tip category. Change the size to 25 pixels, change the hardness value to 50%. Click this size control up here and make the opacity to 20%. See if the tool turn off include color. Name it detail Max. Is this much brush for this brush? We actually don't use the brush tool but used this much tool in here rightly and choose the rounds off brush preset. Go to the brush panel. Change the size to 70 pixels partners to 10% and spacing to 40% in your ocean panel, said the strength to 30% and turn on the size control. Next, we need to turn on scattering. Based on my experience. The smarts tool is designed more to drag picks us around, not for blurring big sauce. We actually need the blurring behavior more than Pixar dragging behavior. The scattering effect off the brush can really help to blur the pig sauce. So said the Jeter toe. 10% said control by Ben Pressure and said the Count Toto on. That's it. Let's save the stool as a to precept. Name it smart. As we can see, the icon in here is different from the rest off the 2% because these other tools are brush tools. Well, this one is much tool Now, if you see something like these, most likely you turn on this option Currently on Lee. Just make sure this option is off so we can see all of the two presets, not just the presets related to the active toe. The last type off to preset we need for our workflow are the racers. We need to type off the razor's the heart brushy razor that we can use to erase outlines or mistakes fast and a soft brush razor that we can use to reduce shadings or highlights gradually. Okay, let's create the heart Eraser force. Go to the eraser tool, right click and just the round heart brush. Now, before we continue, Eraser tool actually has different engine in here. We have brush, engine, benzo and block. You might be tempted to use block or pencil for heart eraser, but notice both block and pencil mode will have no pixel anti l using. We can see this jagged peaks us like this. This is school and needed if you are doing pixel art. But we're not going to create pixel artwork in our final project, so we will stick with the brush mode. OK, go to the brush panel. Change the size toe 30 big sauce. Turn on smoothing. Make sure the opacity and the flow are all set to 100% on That's it. Safety's toe to preset. Name it. Eraser. Underscore heart. I am using my name as the prefix as always. Finally, we're going to create the soft razor, right Click in just around soft brush preset for start Change the size toe 100 pixels. Make sure the smoothing is active, said the opacity toe 50% and turn on the opacity. Pen control in here. Go toe to present window safe this tool and name it Eraser underscore soft And finally we have all of the tools that we need for our workflow. If you want to change this ordering, we can use the preset manager again. So go to option preset manager. In this panel, we can direct the precept to any location in lease for me. I will order this based on the chronological process, so pencil should be at the top than ink below it. We should have shade detail and smart at the very bottom we want tohave the Eurasia tools. Your heart razor is on top of the soft eraser. Now you can organize them to your own liking. There is no right or wrong about the tool ordering. Take the done button after finished reordering the presets. If you like all off these two presets and want to save them in external file so later we can use them in other computer or share them with your team. You can go to the option menu again and click these safe toe precept button. You can name me to any name you want. The file extension for these two presets will be in dot TPL format. If later you want to load them, you can go to the option menu again and just load to presets in here and just the file you want load for these two presets, it is included in the project files in his scores, so we can simply don't look them and use it right away. 8. Illustrator: Managing stroke width: If we have a stroke created by the pen tool like this, for example, we can actually control the with off the stroke known uniformly meaning we can have, for example, six stroke in center and thin stroke at the end of it, it's all up to you to decide to show this effect. We need taker stroke to begin with. So let me just this with toe 20 pixels for now. And click this drop down lease, which is called variable with profile and just this one. As you can see the end part off, the path become thinner in the middle area is thicker. If I just this with profile, the same concept applies the thickness off the path will follow how the profile looks now. You might have different with profile presets than mine, because I have changed the precept to suit my workflow, and we'll discuss that later in this video. Until now, you might be thinking, OK, using appreciate is great, but what if I want to control the with manually where you can do that? And the two for that is called the With Tour, which is the tool in here? W. For the shortcut. Well, the stool is active. You can hover over a path and click drag out to make you think and drag in tow. Make it smaller Every time you do that Adobe illustrator will create with control node on that path. Now, this control node is free from the anchor points meaning that it has its own structure Separated from the anchor point structure to move around with control node, we can click and drag this along the path. Sometimes we want to create a known symmetrical with. For example, I want this side to be thicker than decide. Can we do that? Yes. We can simply hold out and direct the handle on the side. You want to change notice? It only changed these side and not the side. Okay. Now what if we want more control over the wit? If we double click on one off the with control node, we will see this with a point edit window in here, we can control H sites with you seem precise value. We can click in here to make each side symmetrical. And we can also forget the value off each side and you specify the total with you seeing this input field? Okay, Now this check box. Determine whether the changes on the corn with point will offer its neighboring with points or not, and the less one we can delete the weed control note. By pressing this late pattern, let's say you have created with profile that you like anyone to use it again and again throughout your project. The best way to do this is to say, if you're caught on with profile Inuit profile, preset is very simple. Make sure the path is selected illustrator. Automatically detect and display the corn wheat profile up here, then just click. Add to profile. Batten down here, name your profile and hit the okay button, and that's it. You can now easily reuse your profile on other paths. Something you need to be aware, though. When using the wheat profile, you need to set the brush off the path to basic, which is this one, not the other calligraphic or art brush type or pattern brush Notice. If we select this calligraphic brush, for example, do we profile will not work. So again, make sure you set the brush toe basic, which actually the word basic mean It doesn't use any fancy brush effect. I know we haven't discussed brushes, but we will in the next video. Inshallah. 9. Illustrator: Line artwork strategy: in this lesson, we're going to call for one of the most important aspect off illustration and that IHS line artwork specifically the line weight or with variable. If you have normal study about this topic, you may already know that there are a lot of methods or approaches in creating line artwork thickness, for example, we can define line thickness based on lighting condition. You can create variable taken us based on depth or how far the object from the fewer eyes you can create it based on a mass or weight off the object. You can set it by grafitti, meaning lines that are close to each other become thicker, and lines that are alone or away from the rest become thinner. Or you may create your own way off better mining, which lines are thick and which lines are thin. There are no right or wrong about this strategy. In this lesson, I want to introduce off how I approach this issue, although it's about a strategy that I created myself for my own style. You will learn a lot of techniques in this video so that you can create your own style later. The first thing we need to do is to download a template file, which I provide in a download section Open illustrator and from the far menu Jews New from Template. Then just the template. You download it before. If you do it correctly, you'll get this few in your adobe illustrator. The next step is to add all of these with profile to your with profile library. We already discussed how to do this before. Just make sure the path a selected illustrator automatically detect and display the Koran with profile up here. Then just click at the profile button down here. Name your profile and hit the okay button on in this row files with profile. One profile, too profile three and so on in crack order. This will make sense later when we reach the next section. If you really want to follow my strategy off doing Leinart Brooke, wait. I suggest that you just remove all of the default wit profile and replace it with my library in here in correct order. If later you need to bring back that they felt with profile, you can simply click this reset profile button down here. You might be asking why do I need to use these wit profiles and why they are arranged like that? The first answer is no. You don't have to use these profiles. Just learn how use these profiles and later you can create your own. The second answer is they arrange like that for a purpose, and you'll see that in the next section. Okay, this is how I approach controlling line within a drawing. The basic idea off my strategy is I try to simulate how wet brush in behaves in the real world. They are not based, are lighting or depth or any other approaches. I divide the lines in the tree categories. They are both loose ends, one loose ends and both connected ends. The 1st 1 is both loose ends. It means a line where both ends not touching any other lines. If it is short, I usually use the first profile. If the line is long, I use the second profile, which is this one. As you can see, both profile half sharp ends. The second type is one loose, and they are lines which one off the end attach are connected to other lines. For this scenario, I usually use profile number three, if any short and use profile for if it is long both off. This profile has one off the end tick while the other one is thin. The less type is both connected ends. They are lines which both off their ends, connected to other lines. For a short line, I use profile five for longer line. I use profile six, and for a very long line, I use profile. Seven. So there you go. That is how I create variable line weight on any illustration. Again, as I mentioned before, knowingly strategy that I use should benefit you in creating your own strategy. The next question is, Do this strategy will guarantee great looking artworks? Well, my answer is that great looking. It's a subjective matter. But I found that by following these strategy, my artworks already look nice at the level off 80% and the rest is just adding final touches off small tweaks. So the line with looks more natural. Let's see how we can use this strategy with an example in the next video 10. Illustrator: Line artwork project example: in this project. We're going to trace this llama anymore. Photo we found on Google and create line at work like this. If you want to follow long, just don't let the files from the Donald section off this lesson are. If you want to have your own photo to trace, that is entirely up to you. Next, we need to import the image into illustrator. They named the first layer to image. Then Goto file menu and just place and big the image we have. You will have this mouse cursor click in here to recess the image so it fits better with our outboard. We can use the scale note while brushing shift. So they scaled uniformly. Okay, Now, when we do tracing later on top off this image, we might get into troubles because the image is very obvious that it interfere our dressing lines. So what we want to do with this layer is to make it a template. To do that, we can double click on the layer and we will see these layer options panel. Just click this template option noticed This template option will turn off all of these settings and make any images inside that layer. Deemer toe 50% opacity by default. You might be asking, Why do I need template layer? Can I just said the deem images failure to 50%? The answer is, yes, you can. The biggest difference between temperate layer and non temporal a year is that by the end of the day there will not be printable or illustrator will ignore it on any publishing or exporting process. Basically, it is just a quick and fancy way to turn on all of the setting and turn off brain option with one click. OK, let's create a new layer. Rename it toe working. This is where we're going to create the lion artworks. Choose the pento, make sure the field color is set to none, and the stroke salary said to black. The next thing we need to do is to observe the reference image and deter mine on which area we want to create the lines. Usually, lines are created in silhouette for the objects border on area where different colors are met on area where there are awful Epping objects and unfolding areas. Such a skin folding or cloth folding when creating the line at work. It's OK to intersect the lines like these as we're going to use life pain later to clean up the excessive lines for areas that is hard to trace mentally, with the pen tool we may need to use the pencil toe. For example, this area over here we can press and to activate the pencil toe and start throwing for this workflow, you may need to use welcome tablet or similar devices as using mouse to draw like these generally trouble some for a lot of people. After we have all of these baselines finished, you know, move on to the clean our process. So, like all of the line press K or click in this life, Ben Back Ato doesn't click anywhere inside the shapes. Now these aren't ordinary shapes anymore, but the life pain group for a shift out to go to life in selection mode. So, like all of these excessive lines, I'm pressed the delete button. Just repeat the process until they are all clean up. Sometime we missed a line or two. Interesting. The reference in these face we can fix it by adding more lines, and after that, make sure we Select the New Lines and the Life Pain Group or Jack and Jews March Life Bein button up here. After all of the lines are clean up, we need to confront the life being group into ordinary pad. Why? Because Life Pain Group currently does not support with profile. I don't know whether this will change in the future or not. So make sure the life Ben Group is right. That, and click this expand button up here we have ordinary group object now controls if g toe on group it. Okay, now let's add the first with profile just for temporary. Next, let's make the outer lines become thicker from dress off the lines. We can change the thickness through this control panel up here or from the stroke panel in here. The next step is to add off the wit profile, using our strategy we mentioned before in earlier video. Next, we need to fix the flow off the lines, try to find a natural flow in our lines, For example, this line is not supposed to went to that direction, but it should go straight to fix this. Goto the Rx selection tool by clicking this button or price A for short cut. So, like this point and we cut this point by clicking on this button press fee to go to selection mode. So, like this one and this one by pressing shift, make sure this one is not selected. Press control Jay to join the two lines sometime. We also need to cut a line if the line is too long. This imagine if he draw these using a real pencil and paper where we draw this line in a single stroke off course. Not usually we make small kerf and then stop, Then continue again with another small curve and then stop again and so on. And so far we used this cut technique to simulate how human hand behaves in the real world . So again used this car technique to make line flows naturally and shorten over length lines . Additional tip. We can also cut lines using the scarcer toe, which you see for a short cut, hover over a point where we want to cut and click to cut it. We need this process because sometimes you want a certain look on our lines. That is impossible tohave by only relying on the with tool alone to do final touches on the line artwork. We can tweak line with the way tour, flipping the stroke direction or adding feel area on top off the artwork with the pen tal or a pencil tool or any other factor. Anything you can think off from what we have learned until this point in this example will cover some off them. For example, in here I want this line to be thicker so press w for the with tool, click and wreck like this until we like what we see. Another example is flipping the stroke direction as we can see in here. This line should go from thick to thin instead, often take to fix these, make sure it was selected and then opened the stroke panel and find this mirror I can called Flip along. Click it and we just re first the direction off the stroke, the final example off refinement dispatching with additional field area on top off the existing line artwork. Make sure the field color is black and the stroke color is set to none. And just throw a shape that you like. Okay, we are finished on this lesson. Let's remember that we will be using this line artwork technique later in the final project lesson. I will not explain again later what I already explained in this video. So be sure to check this video back if you ever find problems when doing line artwork in the future lessons. 11. The workflow: so the awful process goes like these first sketching second, pressing, then coloring. Thanks during local shading. Global shedding highlights color bleeding outlines, visual effects. Color correction. Skating is where we draw a rough sketches to block out our initial ideas. Tracing is where we create director pats on top off the sketches coloring is where we convert those vector pats into selection and create color in separate layers. Text during is where we had textures and details. Local shading is where we had indirect shadows are also known as ambient occlusion, basically self shadows and contact shadows. Global shedding is where we had dark shadows or shadows that are being casted from one object to the other. Highlights is where we had lighter colors are speculators to our drawing. Color bleeding is where we at the illusion off colors being reflected and bounce off to the surrounding objects. Outlines is where we had line artwork. Visual effects is where we at normal layer block on top off our drawing composition. Useful toe. Add strong backlight color or reading semi transparent object such as sunglasses or fog, etcetera. The less one is color correction where we can refine the color using adjustment layers for our workflow. Here. We're going to have some off the processors handled by Photoshopped, which are processors best handled investor mode, and some will be handled by Job Illustrator. And that will be the process us best handled in vector mode. So let's discuss east off the face and determine what software should we usedto handle it. Force is sketching. Although you can sketch in Adobe Illustrator, it will not be as comfortable and as fast compared to sketching in for a shock. So for sketching, we're going to do it in for a shock. Let's add blue color for any process handled in photo. Shop off the skating. We need to trace the sketch toe, get clean shapes. This is, of course, best handled in Vector. So for tracing, we're going to import our sketch from four shop toe Adobe Illustrator, then do the tracing in Adobe Illustrator. Let's give tracing face on orange background toe indicate that this face should be done in Adobe Illustrator. Now, in our next project, we're going tohave foreground, mid ground background and some other composition layers. So in this dressing face, not only we do tracing, but we also going to defy the image into sufferer composition layers. This is useful so later we can added the drawing easily and non destructively. After tracing, we're going to move on toe coloring coloring is going to be very, very easy if done in. Adobe Illustrator Using Life Pain feature So for this face, it is only Max sense to do it in Adobe Illustrator, Just like the dressing face Max is thanks Cherie. Fracturing is the process off, adding additional details to the image? Because most off texture in majors are in raster format, this face is best performed inside photo show, but Adobe Illustrator can help also in the structuring face. If the textures are lines or simple shapes, the next phase is shading. Both local and global shading are best performed in Adobe for a shop. Why one off? The advantages of using Russell Brush is its support for pressure sensitive devices such as Welcome tablet. This is also applies to highlights and color bleeding faces as both off. This face is also rely heavily in the roster brush engine, so basically all of these faces should be done inside Photo shop. Next is creating outlines, creating outlines is always better to perform in Vector than in Raster. You need to have super steady hand toe, create long, smooth curves with roster brush. Although there are some plug ins that can help you generate long, smooth A raster lines in Photoshopped, such as the LeSean Izumi Plug in, for example. But you still cannot beat Victor Creditability. Feature with director. We can make changes easily even after the stroke has been Rohan, such as tweaking the anchor points off the handles. You cannot do this with faster strokes. So for outline face, we should always use Adobe Illustrator. Okay, however, you still can use for a shop later to re color the outlines for more flexible will flow. Next is the physical effects face. Visual effects should be done in for a shop. Also as mostly we're going to use the raster brush tool for this task, and less but not least, is the color correction. Face this face definitely need to be done in for a shop. As for a shop support adjustment layer, we're adjustment layers. We can easily tweak the color balance situation, the brightness or the contrast etcetera known destructively, this is something that currently not existing. Adobe Illustrator 12. Sketching: starting from this lesson video. We're going to work on the final project off discourse, which is thes illustration often Alien soldier. As I mentioned before, if you want these cars, it's a big chance that you already see the final illustration. But currently, when I record a video and do the sketching, I honestly have no idea off what the final out boat will be. All I have is just a fission in my mind and a background story for the illustration, and that is pretty much it Skating face actually help us visualize and refined the abstract ideas in our head for skating. We're going to use a new layer. Our main character has almost a round shape, so we're going to use the elliptical marquee toe toe. Help us define the shape. Click Drac in here, then right click and choose stroke. Just use to pick sauce for the stroke with and said your capacity to 50% click OK, next, let's create a circle. This will be for the head. Well, actually, his whole body is ahead. This is for the glass container, which holds the brain to be exact. I am using the pencil tool preset. Now this is where the mouth will be located. There will be a miracle ring with bolts in this location, which mount the glass container to its main body. Now let's at the main mouth shape. This will be the bottom metal part. Let's add some details again for the theater. The basic idea about the illustration is a war between human against alien race, the alien race. They are, well, smart but kind off coward. So instead going toward by themselves, they create and send these cheap cologne soldiers to invade the human race. Basically, each off the Cone soldiers is just a lump off myth with a big mouth. They implant their that soldiers grain on it so it is able to think and also add crab like robotic limbs to enable it to move around fast, each off the clone soldier, also equipped with a laser gun. These going soldiers are not send down. You see you air force or parachutes. Instead, they were sent through a one way Porto's directly from their home planet to the battlefields on art. In this illustration, I want to draw on alien clone soldier that just came out from the Porto and start shooting around the portal emerge on a ruin, often old temple, most off the temples. Architectural is already destroyed, but you can still see the remaining structure such as the column, the wall, the flooring, etcetera. You might be wondering, Why do I just this team or topic for the illustration? Well, I just see it because it has so many elements inside a single illustration. We have metal materials, stone or concrete materials, fully age tropical trees. Fog don't spell on liquid glass, organic meat or skin etcetera. By creating a lot off different material examples, I'm hoping that you can use this project lesson as the reference later, when sketching the gun, we need to create straight lines with the brush tool. Now we can do this easily using the shift modifier key. So click and hold in here than press and hold Schiff and in Distract like this, this one. Also, we can use the ship modifier key again. I'll speed up the video for now. For the light. Sources were going toe have one strong light source from top. We just the moonlight two from front, which are the gun burst and the light from the front lamp off its armor. Both of these lights will emit yellow or orange colors. The last one is from the portal, which will emit light blue or a sigh in colors. - After we have the main character, let's sketch the portal where it came out. But first, I think I need to center the main character. This. Move it slightly to the right. Okay, I think it is better now. Now let's draw the portal with help off elliptical marquee toe. But you might notice that our two preset, kind off blocking where we want to draw the selection. And we cannot direct Doc Human to the laugh because the canvas is fully zoomed out. To get around this limitation, we can go to full screen mode. To do that, we can press half in a keyboard now. The coating about full screen more is that we can always direct the document. Regardless, it's zoom factor. Okay, now what if we want to go back to the standard fuel? Perhaps you want toe open other application or switch applications easily from the Windows Task Bar to go back to standard few. We need to press half again twice, So the first F keep rest were changed, a few to pre few mode where we only see the image against black background without any you I looking a few now press f again. We are back in the standard. Few more now. In the next videos, I will be switching back and forth between these modes because I often need to access some areas off the image that are being blocked by Do I? So don't get confused. Just your shortcut f to perform this switching. Okay, let me go back to full screen mode by pressing elf, then grow on political selection like this, rightfully and then just stroll. Just used the same settings as before. Click OK press. Be again to switch to Brush Tool, which currently use our pencil toe preset. And let's at some details inside the circle shape. That's at some details. Also around it in the foreground. We want to draw some Bruins and some plans. Let's draw a pillar or column in here. Of course, this is a broken column, one that looks like a Roman style pillar, so we have some vertical line contours on a pillar. OKay, Let's add some leaves in here. Some off the ages will be turned our way. Okay, I'll speed up the feed you again. Let's start sketching the mid ground now, which contains the ruins where the portal in March. I just speed up the video. As technically, there is nothing new that we can discuss now. Throughout the project. Video lessons. You might notice that sometime my mouse cursor you see in the screen is shaking and sometime it's not. This is because I often switch between using my welcome pan and you see my mouth. When you see the course are shaking, it means I'm holding the pen at the time. If the course of its stand still, it means I'm using my mouse. Also, when I switch from mouse to pen, you will often see the cursor suddenly jump to a certain location. This is because the pen used absolute mapping against the monitor screen or the mouse is using relative mapping for the background. I want to create suffer a large stones bush and some coconut trees. I was thinking that the battle happened in a tropical island. That is why we need to sketch some coconut trees in the background in term off time. The battle happened in the morning before the sunrise. But the sky color we have in here is not the typical morning sky. The sky color is darkened and mutated toe purple tone color due to the fierceness off the battle. I was thinking red color sky before, but I think red would be too scary. We will have fought in a big round later toe. Help us at depth and mood toe the illustration. Okay, guys, I think this is good enough. You might be thinking that my sketches is way toe abstract. It doesn't have any final strokes in it. Well, that is correct. As we will do the final line with Vector of paths inside Adobe Illustrator Vetter paths will give us more freedom to experiment later. So see you in next lesson video 13. Tracing the alien: we are no moving on to addressing face. Use Adobe Illustrator for his face, so make sure it is open to import our sketches from Adobe Photoshopped. Simply click the open button and then just the PSD file where you saved your arse. Skechers. By doing so, illustrator will open the for a shop import option window. We have two options in here. Just select flattened layers to a single image option, which is the default option. Click the OK button as we can see our sketch. It's now important inside Adobe Illustrator, and it is march into a single layer in here. Let's just rename this to sketch next. We want to make this schedule a year safe from accident or changes, and also we want to make it more softer so we can trace on top of it. We don't any distraction for that. Let's double click on a layer and turn on template option in here, then turned on the deem image to a value to 40%. Okay, let's create a new layer for tracing for this layer. We're going to use it to contain the main shapes off the main character. Not every shapes will be placed in this layer, for example, the detail, shapes or textures. We'll create another dedicated layer for their Okay, let's rename this layer Toby with a shorthand for base color. Choose the pen tool or just press P for short cut. Now we don't want tohave feel color, so make sure is said to know color and make sure. Also, we have black for the stroke color. Oh yes, I almost forget for snapping. I only use snapped a point for now and everything is off, including the pixel snapping. Later, we will use the Smart guide also. But for now, when snapping will be enough. Okay, so that's clicking here. Click drag in here. Click really is in here. Click Direct like this. Press out and placed the handle in here and just move on for these mental techniques. You already come for all of them in previous videos, so I will speed up the video for now. - For the host at the back side, we can use another approach, and that will be creating a thick kerf, then converted into outline stroke. So clicking here quick dragging here and click in here now, while the path is selected. We can go to stroke panel and make it take by clicking on the weight input field and just call up the mouse. Okay, now go to object menu path And then Jews outlined stroke in here at the glands. It looks identical with before but notice When I swapped the feel and stroke color, we can see that this is no longer a single line or curve, but closed shape. Okay, guys, dress off. The tracing process will be the same basically, so I'll speed up the video again. - If you see shapes like the lamp in front off the armor, we can create something like this using the free turn from tool. Let's create a surgical shape. Reshaped it so the width is as wide as the sketch. Copy it by pressing control. See and in control shift V to paste it in place. Make it smaller. Okay, Now make sure both off the shapes are selected. Go to three times from tool. With this tool, we can skew it. Then we want to make the left part smaller. To do that, we can use the perspective, distort tool, played directly snowed, then go back to freedom some tool and skew it again. So we have something like this. I think I need to adjust the ships a bit more after we have all of the lines created. So, like all of them, and convert it to a life pain by using the life pain bucket or price K for shortcut and click inside. One of these shapes we know have a life by an object. To clean up the lines, we can use the life pain selection tool or Schiff El for short cut. So like any excessive lines and then press delete, you've talked about life pain before, so I believe you already know how to do this. Let's speed up the video for now. Let's add more paths for additional details. For this, let's duplicate the base color layer renamed the Layer Toe T. We just a shorthand for texture. Hide and lock the base layer just to be safe and hide the schedule earlier. Let's create the laser with the rectangle tool control, see and then control Shift V to paste it in place. Make it bigger. Let's create the fire with the pen tool and later using the lips toe to create the laser sparks speed up the video for now. Okay, let's focus on reading segments on the hostess, for these were going to use the curvature tool, and it is always a good idea to use a temporary layer for the curvature tool. So create a new layer. Love the textually year and use the coverage of tool create course like these, so click, click, click and then hold control and click on empty space. Do this for the rest off the host objects. I'll speed up the feed you again. I am adding some pimples now on the character's face. Now we are creating this life. Are the brain container will have water or liquid inside it, and I want to make it not fully filled with water, so we have some dry area on top of it. Just to make it looks more interesting for the brain details. I think we should use another layer for this. It will be very time consuming to draw them with a pen tool or the curvature toe. I want to use the pencil tool for this now, double click on the pencil toe first and rectus fidelity setting all the way to smooth. Then just throw like these toe at the details. I'll speed up the video for now, 14. Tracing the environment: in this video, we're going to trace the environment. But before we do that, as we can see, the layers for the main character is still not organized. Less organized, the layers now create a new layer. Rename this layer toe alien. So like all of these layers, and drag it into the alien layer so they are now inside or become the sub layers off the alien layer. We can worry about the sub layers named later. Let's just move on to tracing the environment. Let's create a new layer on top of the alien layer. We will use this layer to contain the four grown elements renamed the Layer Toby for base color. Create a straight line like this with a pen tool. Corporate this line by pressing the off, modify our key and then move it like so. And just do these several times. There aren't any new techniques to discuss now, so our speed up the video we need to draw the wall ruin in here using the mantle. Now, I had a small plan in this area. As we can see, it is very hard to see the anchor points or handle notes. If the layers. Color is yellow. Let's fix this. We can double click on the layer. Changed his color from yellow toe. I think Louis better against the white background. Okay, now we can see the anchor points all the handle notes. Way better, pick the panto and just continue with that. Racing. Next is large plan at the right side because we already have so much lines from the pillar object. Let's create a new temporary layer to draw the plan. Let's just speed up the video now. After finished, we can cut and paste in place. The plants paths to the base color layer, but you can also put the plans in separate layer. We can combine them later after converting them to a life of an object. This way later, we can select the plans and the ruins as individual objects conferred the plans shape as life pain object and clean up the unnecessary lines. - Okay for Eddie Louvain lines on the live. Let's duplicate this layer first by dragging it to the new layer button down here. Why are we doing this? Because we need the main leaves. Lines toe cut away Any excessive lines from the vein lines later, using life pain feature to make the path that we drew, snap to other path. We can turn on smart guy by pressing control you or go to a few and clear on the smart guide option in here. As we can see, we can no snap towpath easily. I'll speed up the video again. Combine all of these lines as life pain object and just remove all of the unnecessary lines . - Rename this layer Toti for texture, So inside the texture layer, we only have the vein lines. Next, we can clean up the base color layer. Know that the ruins element is alive. Pain object. We can combine the plans. Life pain object to this base color layer so it's like the planes life pain object. Cut it with control X shortcut, then based in place in Aby Leia. Now this layer is empty. We can remove it. OK, now let's combine these two layers as sub layers for the foreground layer. I think we should not remove the layer before, as we can use it now as the foreground container. But it's too late now. Let's just create a new layer again. The nameless toe foreground layer and let me unlock them first, then dragged this layers into the new for ground layer. Now we have all of the foreground elements nicely organized inside the foreground parent layer for the rest off the tracing process. Our speed up the video as there is nothing new that we can discuss. I'm pressing the portal details now conferred it to life pain and just clean up all of the excessive lines. Create a new temporary layer to trace the rest off the mid grown areas. Conferred all of these two life pain and clean up all the unnecessary lines. Okay, we can cut this life by an object and based it inside the based color layer. Now we can just rename this layer to mid ground, then dragged a bi layer so I'd become the child layer off the mid ground layer. Okay, After organizing the layers, we know half mid grown layer alien layer in a four gram layer. Next, we're going to create the paths for the big around. Let's create a new layer. Renay Me Toby, Let's go to Coconut Tree Force. And for the rest of the process, I'll speed up the video again 15. Coloring the alien: Now we're going to color the main character. We just the alien clone soldier for this. Let's hide the other layers, including the texture and official affect layer. We're going to focus on a base color layer for us. OK, notice we have the smart guy. It's still active. We can turn this off by pressing control you or by going to the few menu and click in this smart guide option in here for the skin color. I think I want to use pink color. So that's click on the field color box in here and Jews being color slightly to red color. Okay, no price. Kato. Access the life pain back a tool and then just click in here for the inner mouth. Let's bake doctor and color and even darker color for the area at the right For the growth . Let's speak an almost black color. Okay for a tongue. I think I want to use unconventional color, and that will be green color. Let me turn off the schedule a year because we actually don't need to see it right now. Click in here and click in this one area. Also, let's speak brighter color and feel in the left part area. Most of the coloring process will be identical. So I just speed up the video now. Okay. In this hand area, we need to differentiate the color between this region and this region. Why? Well, this is because we need to be able to select each off this area independently. If they have the same color. All of them will get selected as one selection when we use the Magic 12 later in for a shock, we'll discuss about this in the airplane project before. Okay, let's speed up the video again as we can see it this way. Easier and faster to color. Our illustration. You seen the life pain feature inside Adobe Illustrator. Now we're going toe colorize the textures or the detail lines in this T layer. We have the laser bars in the next layer. On top of it, we have the saliva, pimples, ho segments and a glass container for the brain. And at the top most layer we have the brain details. Okay, let's focus on the second detail layer where we have the whole segments. We need to actually clean up this lines we can do this easily with the life pain feature. We need to take the lines in the base color layer and put it on top of the detail a year and march them all as life pain. So go toe base color layer. Select the last main object control. See to copy it, go back to the second detail layer, which currently named layer for shift control V to paste it in place. Now we don't want any feel color in this life being object. So what Life being object is still selective. Go to the field color box, make sure this active, then click in these no color button notice. All of the fear colors are now gone. No press control A to select all of them and then click this march life pain button up here . Okay, because they are now a single life by an object. We can press shift l to use the life pain selection tool and select any excessive lines and impress the lead. I'll speed up the video for now. Okay, we have finished cleaning up off the lines. Now we want to separate the segment, the saliva and the glass. So each has its own separate layer. To do that, direct this layer to the new layer bottom to duplicate it. Okay, For this layer, I want to get the whole segments. To do that, we can use the life pain selection tool again. But we can go even faster if we go right inside the life pain object and you rest the lines from there, so double click on it. Now we are inside the life pain object. Select this lines. For example. Press the lead. Our speed up the video until always cleaned up. Okay, Now expand the life of an object just a doctor in color and change the thickness toe to pick sauce. No, I think three picks sauce or perhaps for big source. Okay, this will do. Renamed the Layer two Rings and just drag this on top off the base color layer. Let's focus on the saliva final. For these. We actually need tohave, a colored radiance so high the other layers first big green color and then just colorized all off the saliva areas. Okay for the brain's liquid, we actually already have two brings drawing in the base layer, so that's removed the brain drawing and leave the liquid part on Lee. And for this bubbles, I think I'm going to create this later inside photo shop. So let's remove all of these. Also press Kato, access the life pain back a tool and let's speak a light blue color Fill in these stop region Now pick a darker color then feel in the larger area down here for this precious. Let's pick the bright color and fill these also. Okay, Now we also need the glass area For now, just duplicate this layer and we will take care off this later We're going to focus on the saliva and the top liquid for now to get only the colored Ragen Jews No color for the stroke color. So we have something like this. Then choose expand notice This life are still divided Although they are the same color the worst all of the radiance with the same color automatically we can open the Petfinder panel and just margin here. Okay, later we can control the transparency off this liquids elements. We can do it in Adobe Illustrator now, but I read or do it later in for a shop. For now, let's make them all solid, and that's just rename the layer to liquid drag. This soil is on top off the ring layer. Okay, let's focus on the glass now. We already have a duplicated layer from before big, a very bright blue color, almost white, and then feel all of these areas inside the glass container toe that same color. Then, just like before, press expand and then Petfinder march. We have this group object. We actually don't need a saliva elements, as we already have them in another layer. So double click to go inside and then select these elements and believe. Okay, go back out. Renamed the layer toe glass. Drag this layer so it displaced exactly on top off the base color layer. Now let's focus on the laser. We actually already discussed all of the techniques required for this process, so I will just speed up the video. Now I am renaming the layer from T toe fire for the Wren details. Just like before. Clean up the lines, expand the life pain, then add with profile change this throw color to dark red color, renamed the layer toe brain droughts, and the less details will be the pimples they named a layer to skin, make the color too dark red color and apply a with a profile for the whole people paths. Right now, I realized that the top line on the upper mouth should be placed in skinny tail. You're also so I go inside the last pain and cut the line. Go back out and based it on a skinny tail layer. Let's create a new layer and Amy team for textures, just the rings, brain and the skin layers, and then drag and drop them all into the T layer. All of these layers are not, say, my transparent, so they all goes inside the tea layer for the other detail Layers. Let's create a new layer for there, apparently are rename it V for visual effects. These are the layers which will have semi transparent effect later. Place the liquid and the glass layers inside it. Also the fire layer. Later, we will add subtle outlines on the main character to create the outline layer. Simply drag the base color layer to the new layer button down here, renamed the Layer toe, all for outlines. Place it on top off the other layers. Let's hide all of them for now. Now, for the outlines, we actually don't need any feel colors, so it just no color for the field color, then expand against the stroke with toe. Let's say three pick sauce and change the width profile to the first preset okay for now, this outline will do later. We will fix and refined the outlines and also giving it custom colors now because the outlines already handled in the old earlier we don't need any black stroke lines in the base color layer. So select the life being object egg defeat the stroke color box and use no color for it. So until now, we have something like these. 16. Coloring the environment: in this video, we're going toe color the environment. Let's focus on a foreground elements first for a peeler. I think I want to pick a grey brownish color feel in the large areas. Now let's big, darker color, then fill in the smaller areas. Okay for the world ruin in here. Less big, brighter grace color. Do something writer for these Optimus regions For the site reagents, we can pick darker colors for the plant's leaves. Let's speak of green but near the blue spectrum and feel in these areas. I think I need to speed up the video as the rest of the process is fairly identical for the textures. Order details on the lives we already have. Misty layer. We need to change the color off this lines, so it is green also, but way brighter than the lift color. To do this, we can select the vein lines. First, make sure the stroke color is active. Then use the eyedropper tool, but instead off clicking right away on the sleeve. Hold shift first and then click. Now this leaf color become a stroke color. Just remember to use the shift key. Modifier are otherwise Adobe Illustrator well, simple. Everything till toe feel and stroke. Two. Stroke. We actually don't want to sample the feel color. That is why we use the shift key modifier to confer the selective color to the active color , which is the stroke color. Let's focus on the portal force. I think we need to separate the portal to its own layer. So select the portal object. Cut it, create the new earlier basing in place. Now let's color it with the life pain back a tool. There is really nothing new to discuss. All of the techniques will be similar with the other coloring techniques. So are the speed up the video for the background We need to create the Sky Force for these. Let's create a rectangle. Send this object to back, then move it So it is behind the background elements. No, let's apply. Lanier Grady in juices. Bright purple color for the left node color. Okay, Now pick the right note or the color. Stop. Jews darker purple color. I still think this color stop need to be much brighter. Okay, Now wrote that this 90 degree. So the doc purple color is at the top and a bright. One is at the bottom. Okay, this guy is already looking good. Let's give dress off the background elements. Some colors. Now the coloring process is fairly similar with the other coloring process, so speed up the video for now. 17. Exporting to photoshop: in this lesson video. We're going to export our walk from illustrator over to photo shop. But before we do that at this stage, I want to change the color off the aliens robotic body to off white color because currently it looks almost identical with the ruins wall and a stone floor. Also, I think the world doing in here needs, ah hole so we can see the horrible sky in some outside foliage. This graphical elements will strengthen the fact that this wall is just ruin, not on interior space. Okay, the good thing about the vector is that you can add it them easily, so let's start by fixing the wall Force. Unlock the mid ground based color layer. Now the porter is blocking or a few, so let's select it. Cut it by pressing control X. Create a new layer. She have control of Ian. It's layer, and that's high the portal layer for now. This way, we can concentrate better on the wall area. Okay, let's speak. Depend Tool. Make sure there is no feel color and we have a stroke color. Any stroke color will do as we're going to remove it later. Draw a line like this. We're creating a new corner with this line. Now let's create a new path in here to define the top age off the wall. So the bottom part will be solid and the upper part will be foid. We need more paths to make the wall appear tohave thickness. Let's breach these two paths with suffer lines. Let's add some imperfection detail in this area. Okay, now we already have life by an object for the big ground based color earlier, so we only need to mark these lines into that life by an object. Select the new lines and the life of an object. Then click this much life pain button up here. She if l and select this line than the lead. That's color the new areas. I believe you already know the process, so I'll speed up the video now. At this stage, I just realized that I forgot to march the corner line to the life pain object, so select both of them and more to life pain. Next, we want to add sky color also at the right side, we can notice easily by selecting the sky object at the left side and just resize it by dragging the right. Still note to the right area like this. Okay, we need to create the foliage or the bushes at the right side. Also, we can do this with the pencil tool. Just draw the bushes like these. Now select a bush and used the eyedropper tool. Then take this far Bush's color at the left side. Okay, next, we want to change the metal color off the aliens armor or the robotic limbs because right now it looks too similar with the ruins around it, so make sure we are in the alien layer. Look all of the layers except the base color layer. Use the pain back a tool, pick a light gray color and just click on the areas we want to re color. There is really nothing new to discuss now, so I'll speed up the video after we have all of the color for our illustration. It is time to export our walk from illustrator toe photo shop so we can later at shading highlights color correction, etcetera. But before we do any file export, remember that we have the sketch layer before said as temporary. Now having a layer said as template will avoid that layer from being exported. If you want to include this sketch layer, we need to double click on it and turn off the temple option. Okay, but if you don't want to include the sketch layer, then you can live it as a temple player. It is entirely up to you also before exporting the file, make sure that all off the layers you want Toby included are shown not hidden. If it is hidden, then that layer will not get exported to photo shop. Okay, so that is something you need to keep in mind before exporting the file to transfer our walk toe Photoshopped. The process is actually very easy. Go too far. Menu The induced export export ass the export filed. A look window will appear to his for a sharp PSD for the final time. Named a file to any name you like. I'll name it shedding 001 Okay, Now you always want to turn on this. Use our board option in here to make the image size consistent with the document size we have in Illustrator. Otherwise, if you uncheck this option, illustrator will export everything, including the paths which are outside no cumin region. So the final image size will be different from the original. No cumin size. This will make sending graphics such as outlines are efficient. Graphic back and forth between for a shop and illustrator become harder as the coordinates off the graphic elements will not be consistent. So again just turned this option on. Okay, click the export button down here for a shop export option Window will open for a color model Living toe rgb We've talked about RGB and color models before, so I won't bother explaining it again. The most important part we're going to discuss is this resolution pulled on options in here Now by default, this is set to screen 72 pp I pp eyes then for pixels per inch. If we export with 72 pp, I precept the output image size will be exactly the same which is 90 20 pixels by 10 80 pixels now Generally, if you are working with raster image project, you always want to create your master file or you're walking file way bigger than the target. All put resolution. Remember that raster images are a solution dependent. So if you create your artwork at certain resolution, it will stuck with that resolution forever. If you publish it toe smaller size, that won't be a problem. But if you making it bigger, the pick sauce we look blood. We've talked about this before, so you should already understand the basic idea here. By having larger a solution than the target output size. We have more room for scaring the image because we never know. Perhaps in the future we need to print out our illustration to large size bag drop or huge banner. For example, set the resolution toe other, which basically a custom value and said it to 144 pp. I This will make the output image size twice the size off the original for the options in here, choose maximum creditability, so we have all of the layer structure intact for anti liaising Jews are optimize. The other option, which is type optimized, is good. If you have tax in our composition because we don't have any tax in our document, we should take our optimized instead. We don't need to em, but any color profile with discussed about color profile before just click the OK button. Let's see if our file exported correctly Toe PST or for Russia format. It's open for a sharp force. Jews open and find our file and then open it. As we can see, we have all of the colors already done. The sketch layer is done here. We have the bigger on layer. We've grown alien, etcetera, just like how we set them up in Adobe Illustrator and also notice if we go toe image menu an image size we have twice the with and twice the hate off the original image size we just exactly what we had expected. 18. Shading the alien: in this lesson video. We're going to start adding local shadings to our alien character If we open the PSD file we exported before from Adobe Illustrator, we can say we have this alien group layer inside it. We have Viagra player, which is for official effect. Then we have the T group layer, which is for the texture or details. And finally, the B lier which contains the base color notice. If we expand this group player inside it, we have this life pain group layer and a layer named group. Now we actually don't need complex layer structure like these too much all off this layers and grew player We can right click in here and in just March group. By doing that, we know have one standard raster layer named B. Okay, now, just like in a character of design project before we're not going to add color or anything in this layer, we only use this layer to easily pick color. You see the magic one tool. So look, this layer from any times formation changes and obviously it also from pixel changes. This is important because we often make mistakes and trust me, we will make mistakes sooner or later. So again, lock this layer to ensure nothing happens to it. Create a new layer on top off the texture layer. Name it L for local shading. Now we want to clip the local shading layer to the base layer. Also, want to clip this textural layer to the best layer? Notice. We cannot clip a group layer toe, other layer. Perhaps in future fashion, we will be able to clip a group player to other layer, but currently we cannot do that. Now the walk around for this limitation, we can confirm it toe a smart objects, as we have done in the character beside Project Before, Or we can confirm each off the sub layer to individual layers we have during segments. Layer the brain details and the skin details. We can confirm each off this layer the standard layer, but because none off this graphic elements are actually offer lamping, we can safely march all of them into a single standard layer. So right click in this layer and just march grow. Now we can hold the all key and click on the border line in here. Toe clip destruction layer to the base layer we can do. It is also in the local shading layer. We want to focus on local shading layer for now, so let's lock this actual layer to protect it from any accident or changes. Pick the shed brush preset, no less focus on the brain. First, we can press F toe goto full screen mode so we can directly can first freely. As I mentioned before, we will have three light sources in our illustration. The moonlight from the top, the yellow colors from the laugh which is from the gun burst in the front lamp. And the less one is the blue color lights from the portal. Okay, but for the moonlight, I think I will put it to the laugh a bit so we can shade the right part off the rain or the right part off any objects in our illustration to be darker rested on express key. So we are in a based color layer and the Magic 12 is active clicking here, so this white brain area gets elected Pulasthi up express key again. So we go up to the local shading layer. Ideally, when adding negotiating like this, we pick a darker color version off the base color. This way, the colors will be more vivid. Oh, yes. Sorry. I forgot to change the blending mode off the local shading layer to multiply. Okay, so again, ideally, we want to have the same color as the base color for the shedding color. But because this will require more time to finish for this project, I will only use black color for the local shadings. Okay, let me under the previous shedding color. This is not something that you must do. It is just a trick that I used to safe time when creating complex illustration like this because we can use the d keyboard shortcut. If you sing the blue collar while for the other colors we need toe, pick them manually. Later. We can strengthen the colors. You see the color bleeding technique or color correction techniques. So pick black color. We can also use the D keyboard shortcut toe, get the default color. Then let me double check that we are indeed using the shed brush. Okay. And just brush like this. I believe most of you guys already know that between the left and right brain there is a gap to describe the gap with the shading colors. You can use the pen tool first and Roche it like this control enter to convert it into a selection and at the shed color like this and again you might notice the border in here. It's not smooth. This is actually not a problem because we are working on an image resolution twice the size of the target size. It will look fine when we scale it down later. But if you want this to be perfectly smooth even if you zoomed in to the image we can use this march Tool preset. Make the brush size smaller, and then just brush the border area like this. Okay, I think the gap shedding is too strong. We can choose the soft serious or brush and reduce the share colors in here. Next, we want to share the metallic ring below the brain. Use the don't express Keon or welcome tablet. Pick this Ragen. Go up again with the up express key, then should the bottom area. So it is darker. I think we need to add another stroke. Okay. Lets at cheating on the bolts. Go down with our express key. So, like this Ragen, hold Schiff on this region. Also, until all of the world's radiance are selected, Go up and shed the bottom area off the bolts like this. Okay, let's add context. Shadows on the main metallic ring area Go down again. Select this area. Go up again. Shared this area below each off the bolt. Okay, guys, from this point forward, we really don't have anything new to discuss. So I speed up the video until all of the local a shading is finished. 19. Highlighting the alien: in this lesson video. We're going to add highlights on the alien character. But before we had any shading colors, I just realized that one off the aliens food is still using the old greenish color. So I guess this is a perfect time to explain how we can correct coloring mistakes like this open adobe illustrator and make sure the fire would have before is opened. We want to change the color off the aliens food we just located at the alien composition layer measure. The other layers are locked except the base color layer. Press Kato access the pain back of tool and then I'll click on this foot area to get its color clicking here to recover it. Okay, now we have corrected the color. The next thing we need to do is to bring the new alien color toe photo shop. We don't need to export all off the illustration color to for a shop on lee the alien color . So just hide the other layers that we don't need. Remember, only shown layers will get exported. Hidden layers will not get exported. Now go to the file menu export and export ass named a new file to any name you like. I'll name my file Fix color alien 001 Make sure the fire type is said to PSD. Turn on our board again as always. Klay Export. Make sure we use the same settings as before. Click the OK button, Go back to for a shop. Go too far Menu open and Tuesday exported file as we can see on Lee, the alien layer get exported because this is the only layer shown when we export the file Now, right, click and choose March group Tocopilla this image to our men for a shop file. We can do this in several ways. One way to do this is to right click on the layer and just duplicate layer. But instead of targeting the same file, we target our main Photoshopped file which is named shedding 002 PSD. In my case, just click the OK button. Now if we go back to our main file as we can see, we have a new layer named Alien which contain our new base color for the alien directness. Down changed the name Toby the Lady Albee layer as we don't need it anymore. Lock the layer and then click the texture and the local shading layer to our new base color layer. As we can see because our illustration consists off multiple layers, each with its own role, we can safely change the color and everything is good. Nothing is broken. Okay, now you might be thinking, Wow, that's a lot off walk for dis changing a small portion off the illustration. Can we just spend a new color on the base color layer right inside for the shop? The answer is yes, you can. And you should do that if the revision is just a small revision like we just have before. But just imagine if we have hundreds off radiance that you need to riff ice coloring them inside. Adobe Illustrator will be much faster than patching them one by one in a photo shop. So I still need to show you how to do color efficient using Adobe Illustrator just in case you need to do this in the future for any highlights, let's create a new layer. Name me to eight for highlights, cleared the layer to the base called layer also and change the blending more to screen. Okay, Let's create a selection with the polygonal lasso tool. Okay, Now go down Toe base color layer, hold shift and out. And then click on this metal ring area toe intersect this election. So now we have something like this. Go up again to the highlights layer. Oh, yes. Almost forget. Let's lock this flow co shading layer so nothing will happen to it. Back to the highlight layer. Press D then X to swap the color. So we have the white color currently active. Then just brush like this. Okay, press control de to clear the selection for the bolts. I just want around speculator color so we don't need to create any selection. This is the best situation where we can use the ink brush to reset Make it smaller a bit and just brush like this. Next, let's end highlights to the skin. Create a selection with polygonal lasso tool. We can press out and grow like these. Okay, No press be to go back to the brush tool and just brush like this several times I'm using right being color currently. Okay, now we have the highlights color like this I think I want to blow out some off this highlights area suppress as to go to this march Tool on. Just imagine like this. I think this much strength is too weak. Let's change this to 50%. We can use higher scattering value. Also, let's increase the scattered value to 20%. Yeah, I think this is better. Okay, guys, most of the highlight process will be identical. Either create selection first or directly create speculator like we did for the bolts. Speed up the video for now. Just remember that when any highlights we need to consider the glossy nous off the material for skin or rubber material. For example, we should use more subtle highlights than the glossy metallic surfaces. We can use the eraser tool or this march tool to make them more softer. 20. Detailing the alien: in this lesson video. We're going to add details to our alien character. Let's go down to the best layer and then select this skin area. Go up one step to the texture layer. We need to unlock the pixels so we can added it just the detail. Brush preset, then opened the color picker and then choose the base skin color. Now let's make it more red and darker. Zoom in and just brush like this. Our speed up the video now as things will get to repetitive. Okay, now we're going to focus on semi transparent details on the alien's body. First, let's lock all off the layers except the top, the layer which contains all of the details. We want to add it in this V group player who have suffered or subgroup players. We have fire layer, liquid layer and finally, the glass layer. Let's focus on a glass layer first. We want to make it say my transparent. Currently it has this unnecessary complex structure from Adobe Illustrator Export Process. Right click on this group player and choose merged group. In here we know half a single raster layer for the glass. Turn down this opacity value toe. I think 30% will do great. We can always change it later if we need to. Now we want to end highlights on this glass. We have official affect layer on top of the highlight layer, so we need to create another highlight layer for this glass layer. Clip this to the grass layer to draw the highlights. We can use the pen tool to define the ship first control. Enter to confirm the path to a selection. Use the shed brush and just drove Sephora strokes like this. Let's remove the bottom part with the polygonal lasso tool. Okay, you may notice that the color it's not that strong in here. This is because we clip the layer to the glass layer, and because the glass layer is transparent, the highlights color become transparent. Also, solids unclip this layer and it is too strong. Now let's turn down the opacity off the highlight layer. Toe fighting 60% will do. Okay, let's create another path with the pen tool control. Enter and use the brush to again to create another highlight color in here. Okay, Next we want to take care of the liquid layer right click and just much group. So we have a standard raster layer for the liquids. We want tohave highlights also on top off this layer. Now instead, off creating another highlight layer on top off the slayer. Let's just drag this layer to this location, which is on top off the dress layer, but below the highlight layer. Turn down the layers opacity to 60%. I think this is a good value. Let's add some highlights for the saliva. Go to the highlights layer. Create a circle selection and brush like this. Our speed up the video Now, until all of the highlights for the details are finished inside the water, we want to add bubbles for the bubbles. Basically, we use the same process clear circle selection and just brush with a share tool, the less process we want to discuss. In this lesson, video is facing the color off the detail elements. If you look closely at this area, you can see that the brain and the spine it's not that clear anymore. Due to the blue water on top of it, we need to strengthen the color in here, but at the same time introduced volumetric depth. So do these rats open the local shading? Make sure the pixel lock is off. Now for this Ragen inside the water, let's pick a dark blue color almost to black color. Just the shed brush and then just brush like this. Okay, Next, we want to make the glass color stronger. Also, we want to make the site color off the glass darker. We can do this by going to the grass layer. Make sure we turn on the tense pattern lock, then just used to shame dark blue color and in brush like these. I think I need a darker color. Now, that's just use black color. Okay, I think looks better now for the water or the liquid color. I think we need to make it darker. Also, the process will be the same. Just a liquid layer. Look the transparent area. And let's speak dark Cyan color and just brush like this. Okay, Now, if you want to make it more interesting, we can try to add a brighter color at the bottom part. That's bigness. Green color from the swatches panel. Then we can brush like this. In this way, it looks like there is a light source at the bottom off the water thing, just to give you some ideas off what you can do with colors. Next, I think the metal ring color needs to be a gas. It also I want to give it a strong chrome look on it, so go down to the base color and pick the metal ring area. Go up again to the local shading layer. Add some black color at the side and at the side also, and just at motor black color on any area you want to make a darker. The last detail we want to create is actually the highlight for the brain. Go to highlight layer. Turn off the picture lock. Zoom in a bit for this process that's used to detail brush, pick the brains based color, make it brighter more towards the white color, use 30% brush capacity and then just draw like these to define the highlights. I'll speed up the video now 21. Shading the environment: in this video, we're going to add shading colors to the environment. In the foreground layer, we have the texture screw player and a bass color group player inside the base color layer . We have subgroup layer for the pillar and the ruins and another sub layer for the plans. As always, we don't need this offer. Complicated Leah structure. Right. Click on a texture layer and choose March group unless duties also on the base color layer . Rightly and much group. Clean the textual layer to the base color layer for reading the local shading to the foreground elements. Let's create a new layer. Rename Ito l clip the layer and then change the blending mortar to multiply. Now let's look the base layer and officially, year. All of these steps are standard steps we have gone through before. Go down and pick this regions go up again. Just black for color and into is the shit brush tool. And just brush like this. Try to make the bottom part off each off this area darker. Okay, now go down again. And so, like all of these reagents go up and shade like these. Next we're going to focus on this small world ruins in here. Most of these are repetitive process, so I speed up the video for now. - At this stage, I just realized that we have some areas not shaded correctly before I think I forgot toe. Select these areas before when shading it. Okay, Next we want to end global shading on a four grown layer. It's like before you get a new layer. Let's rename this to G for global shading, then clip it to the best color layer and change the blending mode to multiply. Now here's the polygonal lasso tool and create selection like these. Go down to the base layer and sorry, I haven't looked this layer just to be safe. Okay, now hold out. Click on this plans Ragen. So now we only have selection in the pillar area. Go up again for the global shading because the sky color will be powerful later. Let's speak a dark purple color and just brush like this several times. Next is the plans. Just use the same technique as before. Okay, guys, I think the shading is not working as I expected. With this ever, there will be too much going on on the foreground that it will distract the few hours eyes from our main focal point, which is the alien soldier. So let me just remove all of these colors from the global shedding layer. I think we can for select them all by pressing and holding control key and then click on this layer stomp Neil. Then we can reduce the selection with the left for insulation are I think we can just share them all and see the results. Okay, I think it looks better this way. Last details on a foregone layer is always a good thing because we don't want people to get distracted by this layer. Now we're going to focus on a mid grown area. Let's hide the foreground and the alien layer first so we can focus on amid Grolier. If you look inside the mid ground group earlier, we have to group layers in here. One is the portal group player, and the other one is the ruins group player. Right now, I actually want to make the portal layer as independent composition layer. So to do this, let's create a new group player. We name it the portal. Next change This group players named Toby, then March Group, then direct this to the portal group player. So now we have the portal in here for the mill grown layer class. Confirm this. Be group player. Toe a standard flat raster layer by using the much group command. Let's create another layer, which is for details or textures. So rename this new Layer T, which is stand for textures. For now, we're not going toe. Create anything inside this layer who take care of the details in the next. Less and video in shallow. Let's get a new layer for the local shading. Rename it well. Last, lead these two layers to the base layer and for local shading, as always, use multiply. Blending mode. Okay, guys. Basically, the shading process on the mid grown area is similar to initiating process on any other layers. So I speed up the video, and in the next video we'll cover adding details on a MiG earlier 22. Midground details: in this video, we're going to continue adding details to the environment. We're going to add cracks and other details on the stone floor and wall now. Generally, you should put details in the actual layer just how we did it, when and indeed tails on the skin or the brain details in the alien character. But for this example, I'll be putting all of the crack details inside the local shading layer. Why? Well, the first reason is that later I want to explain how we can use external images as structures inattention layer. So I want to preserve the texture layer for later use and just make it empty for now. The second reason is that the cracks is more likely a shading color than a detail color, because I will use the shed brush and also I need to draw it in the layer that has multiplied. Bending modes, usually for detail. Elements exists in a textural layer. I used normal blending mode, and the less reason is that I want to create additional shading also on the goal when adding the cracks, putting them all inside the shed layer. We'll make the process easier and faster Okay, so for now, let's hide the alien layer for grown layer and a portal layer juice, a polygonal lasso tool, and just draw the selection like this. Okay, No big the shed brush tool preset and brush like this. Make sure that the bottom area is darker than the upper area to simulate that. Okay. Another example. Let's create another crack in its location. Used the polygonal lasso tool again and grow like this. I mistakenly double clicking in here. Let's fix that by pressing out and draw another selection to subtract the previous one. Use the brush tool again. Make the bottom part darker. Also dislike Before now, while adding cracks like this, sometimes we need to draw highlights area. So let's create a new layer clearly the best layer. And I rename it toe age for highlight Jan star blending mode at the screen, for example. I want toe make this area brighter. We can create a selection with the polygonal lasso tool. Okay, go down to the basically, uh, hold shift and off and click on his area to intersect it. So now we have a clean selection like this. Go up again, press acts to swab the active color. So now we have the white color active, then just brush like this Now, Generally, you don't want to create highlights on non glossy surface. That is why I'm using this technique not to all of the stone floor areas on Lee, to several off them, just to make it more non uniform. Basically, I'm hoping that in the final output, some stones may look like semi glossy and some Miss Ralph adding variation to make it more interesting. Okay, guys dressed off the process will use the same techniques as we have discussed before, so I just speed up the video until all of the correct details are finished. 23. Finalizing the background: in this video, we're going to work on the background layer. If we open the big Ron group layer, we can see a base color layer and inside it we have so far Oh, soft layers. Let me hide everything first, including the sketch layer. Okay, we have in the sky layer in here. Let's just rename this layer to sky. Then we have this layer for the far away bushes and rocks. Let's much group this layer and rename it toe for us. The next group layer is this layer where we can see the closer ground in the coconut trees . Let's rename these two trees and then just much group it like the other layer. Now, in this layer, we have this bushes at the right side, which should be at the forest layer. So select this area. Control X toe, cut it, baste it with control, she fee. So now we have a new layer. Let's march the new layer with the forest layer. To do that, we can select both off this layers and then press control e to march them together. Now the new layer has a wrong name player, one following the previous upper layer. So let's fix this again by renaming it to for us. Okay, so we know have three layers the three Slayer where we have the coconut trees, the forest layer where we have the far away Iraq hills and the bushes. And the less one is the sky big grown layer. Now what unique about the bigger on composition layer is that we actually don't need to add shady whatsoever on it because first, it is too far away and too small to be noticeable. Second, to select a foregone composition layer, we don't want to draw the few hours attention too much to this layer. We intentionally need to make the bigger on layer a simple as we can. The only thing that we need to do with this layer is to add for you metric depth, and that will be adding foca. Okay, so that's getting a new layer on top of the forest layer, clip it to the forest layer and then rename it to be, which is stand for office will effect. Now you might be wondering why I call it the It is because I usually name anything V for layers on top off the base color layer that has normal blending mode but has partial capacity value or so called semi transparent. Okay, let's go to the base color. First, make sure it is lock both its position and it speaks us. Then press W toe access the Magic one tool and then just these bushes at the back upon the color picker and I speak bright purple color. Pick a gradient tool, right click and just the second preset, which is for grown color. Too transparent. We have discussed about this before. Now go to the field earlier. Change the opacity to 20%. We can press number two in the keyboard, Click Direct like these while using the shift modifier key. So the direction off the Grady in the straight vertically I think 20% value is two week. That's at another Grady in on top of it. Okay, let's change these opacity toe 40% instead. Now go down and select these Bush area. Go back up to the Delia and then at another, Grady in on top of it. Then go back down like this rock hill area and small bushes in front of it. Go back up to the ealier and add another Grady in. So basically, the further it gets, the stronger the fog will cover it. I'll speed up the video now as the process will be similar. Okay, guys, at this stage, I realized that I made a mistake here. The coconut tree at the left side is floating. Ah, forgot toe color the root off this tree. So let's go to the three layer, unlock the pixel and just draw a selection with the polygonal lasso tool speaker dark brown color and fill that selection region by pressing out the lead shortcut. Now the phone is not touching this new route color area, so let's redo the fog. Most of the process will be similar. So let me speed up the video again, Okay, now that we have all of the folks layers created, let's and hide the other layers and see if they get along nicely. We can see the powerful fog now at the left and also at the right side behind the broken wall. Okay, I think we need to smooth out this area as this sharp border off the fog doesn't look natural at all, So let's go to the fee layer off the forest, Choose so much tool by pressing s shortcut and just blur out this border area. Next. I think we need to erase some off this folk color also. So pick our soft brush to preset and just erase the front area. Basically, anything that is supposed to be closer to our location should have less fog. Let's erase some folk in this area. Also This way we can see that we have bushes in here. Okay, Next, we need to organize the background layers. You can see in here that we have this be layer which actually doesn't do anything. Let's just move these layers to the main Baghran group player and just delete the B layer. The last every going to do for the background is to color. Correct it. As we can see in here, the big round still looks too bright and also the color is still too strong. Usually, objects consumed by folk will be darker. Why? Well, because the fog will actually blocking the light. So most objects inside thick fog will only show dark silhouette. So that is something you need to keep in mind to make the forest color darker. Let's add adjustment layer and we'll use thes brightness and contrast adjustment layer. But no, I changed my mind. Let's use the huge situation in here as we need to reduce the color, clip this layer and let's drop the situation value down and also the lightness value. There is something wrong with the color here. Oh yes, my mistake. We don't want to change the four color on Lee the base chorus color, so this adjustment layer should be Don't here below the folk layer. Okay, now we can play around with both the situation and the lightness value. I think minus 25 is a good value for the lightness, and for a situation we can use minus 60 let's add another adjustment layer. Now we teach the color filter. Let's speak purple color and just wait the value as you see feel you can play around with this adjustment layers and see what kind off output you can create. This is what's so great about digital illustration. Begin create colors with its original diffuse or albedo color and worry about color correction later. Back then, when we used traditional medium, such as watercolor or oil painting, we need tohave deep understanding off how color reacts to lighting. I mean, if we need to color are three leaves at night, for example, we cannot just just ordinary Greenlee of color. We need to think carefully what color that leaves at the night sky environment with all the moonlight affecting them. It is a very complex topic to learn. But Alhamdulillah, now it computer and digital illustration workflow. We can take the shortcut and make everything easier and flexible. Okay, guys, we can see in this area that the adjustment color makes this border toe physical. We can control the mask off the adjustment layers so they are less noticeable in the area near the mid grown layer border. Just just the shed brush to preset big black color. As we want to make it more transparent, make sure the mosque is selected in here and then just brush like this. We can do this with the other layers. The process will be similar. So I'll just speed up the video for now. 24. Global shading the environment: in this video, we're going to add global shading. It also color bleeding effects to the middle ground layer. Let's hide the alien in the portal layers. First, create a new layer on top off the local shading layer. Rename is layer G for global shedding. Change the blending more to multiply. Let's make sure that the local shading layer and highlights layer a lot just to be safe. We want to make this area darker in the area. The left side brighter. Just imagine that the original color is the dark color behind the Porto, and everything that is bright at the laugh is due to the light from the quarter. Let's pick the polygonal tool and let's create the border line for the shadow off the light , which, coming out from the porter, we really need to use our imagination here. - Okay , use our shed brush to present and used a dark blue color. Make the brush size very, very large about the size will do and then just brush like these several times. Now we need to make it smaller and just brush again on the corner areas. Now it looks like the portal is emitting light toe that direction. I think I need to fix the light border in this pillar. So let's fix it. I think it's your position. Slightly to the right. I'm trying to follow the Contour off the dealership. Okay, press delete. Next. We want to add direction. Edo also for the spiller to the wall at the left side. We can actually do this easily by going to the bill earlier and use the Magic 12 to select all of these radiance. Now let's move this selection. Remember, you can only do this if you are in a selection tool. Any selection who will do such as the magic One tool we are currently you see? Just try to imagine where the shade will be if the light is coming out off the portal. Okay. Now let's subtract the selection with a pillar selection. We are still in the base color layer. So let's hold the out key and just click on the pillar areas to fix the selection region. Okay, After we have the selection fixed, we can use the shit brush again. Make sure we are in the global shading layer of now and just shared like this try to make the color near the pillar and at the bottom rage in a bit darker. Next, we want to add more cost a Cheetos at the floor stones. The process will be identical with the other custard shadows process, so I just speed up the video until all of them are finished. - Next , we want to add color bleeding effect so the ruins and stone floor near the portal has sion or bluish tending. The dude is create a new layer. Rename me to see we just stand for color bidding. Clean the layer to the base color layer also and change the blending mode to color with color blending mode. Anything you put in this layer will affect the color only, and not the value off the layers below it. Now we want to make this region around the portal center with blue color. Let's hide the alien layer. First, open the color picker and let's speak, for example, this light blue color from the portal area. Then let's make it slightly saturated. Okay, make sure you use the shed brush to preset and then just brush like these several times. I think I need to reduce the blue color from this stop pillar. Okay, let's add some more subtle blue color around this portal area, and that's it. I think we are done. Now let's move on to the next video, where we're going to add global shadings also, but for our main alien character. 25. Global shading the alien: Okay, guys, we're going to continue our illustration in this video. We're going to add direction does or, in my own term, global shading to the alien character. So let's open the alien composition layer. Create a new layer on top off the local shading layer, rename the new layer to G, which is stand for a global shedding change the blending more to multiply and start heading global shadings to this layer. There are no new techniques we can discuss. Everything you've seen here are already explained before, So I would just speed up the video for now. Amusing dark blue color for all of the global shading in a character. - After creating the global shading on the alien's body, less at shadow, cast out from the alien onto the stone floor, this step is very important to make the alien looks like really standing on the ground and not like floating in the air to create the shadow, we can create a new layer. I named this new layer asked for shadow. Now noticed this new layer is not actually inside the alien layer. So direct this layer on daily this inside the alien group player, we can see by its inventor position in the layer panel that it is indeed inside the alien group player and, as always, because this is a shadow layer, we need to change the blending mode to multiply. Okay, now for creating a drop shadow, I'm going to use a different approach than we usually have, and that is by using a temporary layer to draw the raster shape off the shadow. We can add it and tweak this layer as we like, and then later we can use it to create selection for the shedding process on a shadow layer . Used elliptical marquee toe to create around selection like this. Move the selection to where we want tohave to shadow, then fill it with black or any other color. It doesn't really matter. And let's produce the opacity now so we can see what is going on at the stone floor that zoom in a bit. Notice these stones don't have the same Hey, we need to make the shadow region toe. Follow this contour. So let's like this area. Use the move tool by oppressing V and then just move it down like this and then these area also the same process here. Next, we need to tidy up the shape of it. We can use the polygonal lasso tool for these and then live, then create the selection. Fill it with black color. The color we feel in this layer. We always look semi transparent as the layers opacity is around 50%. Okay, guys, from this point, I believe you already understand all of the techniques that I'll be using. Basically, create selection, feel color, create selection again, then the lead, and so on and so forth. I'll speed up the video for now until all of the shadow shape are defined. - Okay , now that we have the shadow ship finished, we can hold control and click on this layer stamp mill to extract it as our selection. Just hide this layer now and go to the shadow. Layer yours dark blue color again, and just brush like this. Try to make the color near the areas where the feet are touching the ground darker. Okay, control de to clear the selection. Now we need to use the so much tool Tobler out the shadow border areas where the object that casting the shadow is far away and that will be this main round shape off the body. The idea, or the main concept is that the further the object which casting the shadow, the more blurred the shadow should be. So the area directly below the field should have a sharp as shape. Next, I want to add more contact shadows on the field for these. Let's speak the shade brush again. But now I go to the brush panel and make the roundness value down toe only 40% and then just brush some Morgan colors on the areas where the feet are touching the ground. Perhaps more darker color. Also right at the center in here. Okay, I think the shadow is finished, but the shadow feel a bit too strong. Now. Let's reduce the opacity toe. I think 80% will do great. And let's just delete these temporary layer as we don't need it anymore. I noticed that the shadow in this area doesn't look that good, because right now it looks like we have a light source from the back off the brain container, which is not correct. So let's go to the global layer. Jews soft eraser to preset and make the brush bigger and just reduced the shadow like this . Next, I want to add more shadows on a tear. The process is the same as the other shading method. So for these are speed up the video. Okay, guys, this will be the last section off this video, which is not exactly for the aliens shedding, but putting this process in a single lesson video will be too short. So I just squeeze this section into this video. Okay, Basically, we want to add highlights on the portals area, so let's open the portal group earlier. Create a new layer on top off the B layer and name it H for highlights. Clip the layer and change it to screen for the blending mode. Now let's press D and then X to set the white color as the foreground color. And sorry, that's clock this layer. First, use the magic one toe toe, pick this blue colored region and then go back up to the highlights layer. Then just brush like this. Try to make the center off the portal to have the brightest color 26. Visual effects: in this video, we're going to add final touches to our alien character. First, let's add color bleeding effects. We've discussed about color leading before in a character design project, so I won't discuss this again in this video. Create a new layer on top off the highlights layer renaming to C for colored bleeding and then clip mask the layer, then change the blending mode Toe color Press escape to clear the U I Focus from the blending mode pulled on lease. Let's add some color bleeding to the aliens body. With this color from this portal, let's big, light blue or a sigh in color. I'm still using the shit brush. Now notice. If we brush like these in this layer, the color will get changed. Okay, let me undo this and it's brush the right part like these. Okay, Now, for the left part, we need to use yellow or orange color because we have these orange light sources from the laser birds and from this front lamp. So open the color picker, choose an orange color, and then just brush like these. I know the difference is very subtle now, but it will build up later and make a lot of difference when combined together. Next, we want to create color bleeding from the skin color. So pick the pink color from the skin adjusted. Toby it if needed. We want to add pink color bleeding on the area around the skin, so go down. So, like the stopping area, the shoulder area and waste etcetera. Okay, go up again and then just brush the color like these. I'll speed up the video. For now, we're going to add back light colors to our alien character. We already have a visual effect layer in here, but we cannot clip the layer if we put the layer inside this V group player. No problem. Let's just create another villa you're in here. Click the layer to the base color earlier and it's always for we. We use only normal blending mode. We're going to use the shit brush, but because the back line will be very strong, let's change the brush opacity to 50%. Okay, for the rest of the backlighting process will only use familiar techniques. So I speed up the video again for now. - Now , the term Bakelite for this process may not be 100% crack because we don't have dark area behind our subject. And we actually have to thrown light sources at the left and and right off it in photography. Very strong lights from the side. Few are often called rim lights. Basically, rim light or back line is the same thing. It just that the term back light usually used for reading room light on a dark part off the subject anyway, names or terms is not that important. The most important thing is that you understand the concept and know why and how to use it . - Next , we're going to add more details on the laser gun burst that's open of ealier. We can see that the fire of fact is very flat. There is no sense off volume in here. Let's just march this fire group layer into a single layer. Create a new layer and name it fire, too. Change the blending mortar to screen. Now let's create another fire or burst shape with a pen tool converted into a selection. Pick this dark orange color. I think I need to adjust the position slightly. Okay, then let's just brush like this. I think we need more brush capacity. Now, 50% should do it usedto mental again and clear another path at the center off the existing fire. All of this process will be similar to initiating process, so I'll just speed up the video for now. Now we're going to add glow effects to our illustration. For these, let's create a new earlier. It should be in front, off everything except the foreground layer, so create a new layer in that position. Rename Ito glows changed our blending more that the screen. Use the shed brush tool, then pick a bright orange color and just brush like this again. I need to speed up the video for now, as you should already understand everything I do in this process, and I don't want to bore you to sleep. Basically, I use large size brush, then click. Make the brush size smaller than click again, then make it smaller again and click again. And so on. This way, the center area will become much thicker and brighter than the outer area. Next, we're going to add back light or relight to the mid ground layer and in the foreground layer. We want to add strong science color near the portal area. There is nothing new to discuss in here also, so I'll speed up the video again. Basically, we need to create a V layer in the middle ground in the foreground group player. Then after that, just business as usual idiot selection and fill that selection with bright cyan color and just repeat the process until all of them are done. 27. Color correction: Now it is time to color. Correct our illustration. The first thing we want to do. This adding thing yet. Effect Finn Yet Israel Camera phenomenon Where the ages off a picture is darker than the center off the picture. This is usually happens in chip consumers camera. We hardly see this vignette effects on professional grade camera, so lightly add this effect well, making the age areas darker than the center. We'll make the few hours attention more brought into the center where our main subject is located. Now, really, you don't need to do this all the time. It is best used for drug scenery like we have in our illustration. Conley. To create this effect is very simple. Just create a new layer, rename the stuff in year and changed the blending mode toe multiply, use a dark color. I'll pick these rock blue color and then just brushed away the water or the ages off the image. I'll speed up the video now. Okay, this is we dont fin here and this is within. Yet the image will become darker within yet off course again, this effect is not for every scene. For bright sunny day type illustration, for example, you wouldn't want to use thes effect at all. Okay, you might notice that I generally tend to use soft color. And if I too much contrast in my drawing, this is because if you add too much saturation and contrast from the beginning, you will have a hard time later adjusting it. That is why professional cinematographer like to shoot in flat look mode. It is a very low situation and low contrast picture. Yes, it looks ugly, but with this kind of picture they have more room for adjustment and color correction later in postproduction, there is hugely important toe have. If we are looking for a cinematic look, if they shoot in high contrast mode from the beginning, a lot of details will be gone from the picture, and that is nothing or very little they can do to fix it in the post production. This is also through into the rendering. If you look at my row three D rendering at the left side, it looks so duh. Almost no contrasts. But this is all done in purpose. So later in for a shop or in after effects, we have more freedom to experiment with color, corrections and visual effects. I'm pretty sure you get the idea here. Okay, guys, let's jump back to our project. Now We're going to add some adjustment layers. Toe or illustration. Toe color corrected. Let's make our colors more pop out. Go down here and click this ad adjustment layer button juice vibe runs, then increase the vibrance value toe. I think 50 we'll do great. Okay, now let's at black and white adjustment layer. Now you might be wondering, Why do I want to make my illustration looks like photo from dinosaurs age? Well, we're not going to use this adjustment layer permanently. It is very useful to temporary C and study the value off our illustration From this grayscale image, we realized that the image has no colors at the Black Leffall, and also most off the colors are too uniform in term, off image value. We need to make it more brighter, especially at the center where our main character is located. Let's fix the black level of first to do that at left force adjustment layer and drag this black value, so it's not just the lowest pixels value in the image next, we want to add more rightness to the center area. To do that, let's at brightness contrast adjustment lier. As we can see, the image mask for this layer is pure white. Now let's feel this image mosque toe black so it doesn't do anything as it is basically fully transparent. Now we can pain the opacity off this adjustment layer with the shade brush and with white color. Just paint like these in the center area. As you can see, nothing really happens because we haven't specify any brightness or contrast value, but notice what is happening in the image masked thumbnail. Why colors are coming out in this example. I just want to show you that we can paint on the image mass often adjustment layer. Okay, now, I noticed when we level up the brightness value, it only affects the region. We are painting before, and if we paint again on the Image mosque, the area where we pain will become brighter. Okay, now, if we turn off the black and white adjustment layer, we can see the colors off our illustration become more pop out. Now I want to make some adjustment undervalue and the opacity off these layers. I'll speed up the video now. You can see the final values later by looking at the final project file, I provided another way to add color adjustment. Toe on illustration is by using an overly layer. What I mean about overly layer is just layer with an overly blending mode. Now this may look like a color bleeding technique at a glance, but color bleeding, which uses color blending mode only effects color, not the value of the image overlay, on the other hand, will multiply screen and color. At the same time. We've talked about awfully blending more before. Basically, we can use awfully layer to create quick fix for life, shadow and color as well. If you want to make things brighter, use color with above 50% brightness value. If you want to make things darker, then use a color with brightness value lower than 50%. You should play around and experiment with this awful a blending mode to really get the feel of it. For now, I just want to add light blue color here, the Porto and yellow color. Here, the laser birth. If you think the effects is too strong. We can just raise it with the software eraser tool. Let's rename this layer toe awfully. Okay, guys, at this stage, I was thinking off adding bullets flying around just to back up our background story that the alien soldier is indeed inside a war zone. For this, we need a new layer. Let's just name it bullets and rode the bullets using the user techniques with used before and that will be creating selection and then shaded with the brush tool. I'll speed up the video for now, as we don't have anything new that we can discuss. Now I am facing the shadow on one off the stone in the mid girl layer because the shadow actually crossing the mid grown pixels area, I cannot create the shadow in the mid grown area. So instead I am creating the shadow in the alien drop shadow layer 28. Outline: in this video, we're going to add outlines or also known as line at work into our illustration. But before we do that, I want to fix this small issue with the dark shadow in amid growing layer, I want to remove the dark shadow in the popular, So go down and picked this area to create the selection, go up again to the global shading layer and then lit for creating the outline. We need to go back to Adobe Illustrator if we open our less illustrator file, we already have the outline here inside the alien layer. But we haven't done anything to this outline lier. Let's look all of the layers except the outline layer. Now, everything that I will do in this process will be based on the line artwork strategy lesson which you can find in the advance adobe illustrator course section. So please be sure to watch that video first if you haven't done so. Okay, Now zoom in and pick this line. This line is short and both off its ends are connected, so pick the width profile number five for this. Next is this line Notice we have this straightaway line in here to fix this. That's like this one. And then this also press control Jay to join them automatically. And I think I don't want this line Toby this long. So used to direct selection tool. Click on this anchor point and then click this cut path button toe. Cut the anchor point and separate the line into two lines. Okay, lets like this bath on the brain container. This line is quite long and both ends are connected. So let's speak this with profile. Or even better, Let's use thes with profile. Okay, guys, I have to speed up the video now as the rest off the process will be similar. Basically, we need to select a line and induced the appropriate with profile for it. But sometimes you do need to join pats and other times you need to cut them first again. If you are confused, please check back the video about this. Our growth strategy lesson in the Adobe Illustrator session off this course. Okay. After all of the wit profiles are finished, it is time to export them to for a shop to join the rest off our illustration to export is to for a shop. The process will be identical with before. For smack Scher. The other layers are hidden except the outline lier. Remember, we're exporting. Only shown layers will get exported. Go to file export. I spot us. USPS D is the foul type named these two? Any name you like for me. I will name these export outlines. Always make sure the use art boards option is turned on Klay Export button and then for the export options. Just used the same settings we have before and just click the OK button. Let's go back to for a shop goto file open, then just a PST file we exported before. As we can see, we have this outline with transparent background and, as usual, with complex player structure. That's much all off these to a single layer and then rightly duplicate layer and induce our menu illustration. File. In my case, it is shedding 008 PSD. Now go back to our main file. We know half the outline layer in here named Alien who dislocated incorrectly inside the main grown layer. Now this outline layer gets imported toe this layer location because before I have the mid grown global shading layer selected are active for Russia. We'll put important layer on top of the active or selector player I showed. Select a layer in the alien group player before where it's too late now. Oh yes, it also make the age C and V layer clipping broken. But all of these layers currently don't need to be clipped as the mid ground pixel region is actually way larger than these three layers. So let's just move this outline layer to the alien group earlier renamed the Layer Toe. Oh, we just stand for outlines. Let's zoom in. Oh, I made a mistake here. The outline is behind the saliva. It should be on top off everything inside the alien group player. So let's move this up above the villa. Your group, Okay. If it is, you mean you can see some off the corners are broken like this Spike, for example. I know this is minor stuff, but if you aim for perfection, you can fix this using the heart erase of tool, or just create a polygonal lasso selection like these and then hit the live. Now I will fix these small outline problems later. Off the record For now, let's continue coloring the outline. If you like toe have black outlines, then you can consider these as finished fine artwork. But having colored outlines, we'll make the illustration looks way more interesting. So to do these first, make sure the transparent pixel lock is on this way. We cannot pain on transparent pixels on Lee on existing big source. Next, just use the English to present toe pain the color on this layer. Now the idea here is to use outline color, which is the same color with the base color, but darker now, something you need to be aware off instead. If before we see if the in brush with color included, every time we pick the English to preset the foreground color become black again. So you need to set the foreground color again. Okay, now, just pain like this, and we have colored outline for the rest of the process. It will be identical, so I will speed up the video for now. Okay, now the outline already has custom. Carlos, if we don't want to use the outline, we can simply hide this layer. We can also control its opacity if we want to have more subtle outlines 29. Alternative texturing methods: Okay, guys, we finally come to the last lesson. Video off our final project. In this video, I want to explain alternative methods off ending texture to our illustration. But before that, I want to add additional adjustment layers and organize the color correction layers. Now, basically, I want to make this reagent become more yellow, and also, the purple tone in a background becomes stronger. For these. Let's select the top layer first and create a photo filter adjustment layer photo filter adjustment layer. As the name implies, we'll make our image looks like a photograph taken with the color filter. Let's speak a custom color in here, a bright orange color, but it's Urfa luminosity. Option will maintain the value off the image so it doesn't get darker. Let's turn up the density value to 40%. You can always adjust it later if we need to. Now, off course. We don't want to affect everything on Lee, the left area where the Orange Light sources exists to control the effects distribution, we can use the same technique we discussed in the previous video on that will be using the image mosque for Start. Let's make it black Now the image mask is this one. Not this one. Press controlled lead to fill it with pure black color? No. Then you need to have these selected Pick the shade brush tool and just brushed with white color on areas you want. Tohave, the photo filter exists. I'll speed up the video for now. I am making some adjustment on the density value off the color. Also. Currently, I am adding a new photo filter, but with purple color. This is to strengthen the purple color on the background. Okay, after we like what we see, we can select all of these color correction layers. Direct this to a new group button down here and then rename this layer two cc, which is then for color correction. So now everything is inside this group player. We can turn on or off the color correction group player like this. Okay, before we learn about how to add texture or details using just a custom brush when we walk on the alien skin. Also, we had textures inform off lines created in Adobe Illustrator for the aliens brain. Beside these two methods, we can actually add texture with several other methods we can use fielder such as noise or texture Hilder. We can also import solid raster image as structure and finally we can use prepared, transparent texture into our illustration. We're going to discuss this last three methods now in this video. For us, it's the filter method. For example, we want to add textures to the stone floor. Run here. If we open the mid ground group layer, we can see that we have a textual layer. But it is actually empty because when we create the correct details before we use the local shading layer. Now, this is the time to use this layer. Let's uncheck the pixel lock up here, Go down to the base color layer. Make sure the magic one tours contiguous option in here is off. Like all of the stone areas at the floor. Now go back to a textural layer and feel the selection with this off white color. Then goto filter noise at noise. So we have this noise texture in here. We can play around with the noise amount. I'll set these 26% Now we need to make the white color become transparent. There are several ways to do this, we can use the layer advance blending option by double clicking on it and to make the white color become transparent, we can slide the white color node to the left. We can also supplies this white color node by pressing out and end right like these. Okay, guys, this method is not working correctly because we happen, said the image level correctly. But let me explain another method first, for making the white color transparent and that will be changing the blending mode to multiply. Remember, in multiply blending mode, the whiter, the color, the mortar and sparing it becomes. But we will have problems later if you see multiply blending mode. There is when we need to march additional texture that has normal blending mode by nature. You can create a noose multiple textural layers if you want. Oh, no problem. But here is what I like to do. Let's change the blending mode back to normal and we're going to use the previous method. But first, goto image a dustman levels notice we actually don't have any black color in this layer. So bring this all the way to the left bottom off the hill and this white color node to the right bottom off the hill and play around with the middle gray node until most off. The color is bright like this, then select all off them by holding control and clicking. Here, Goto, Filter and Ed Go Schindler. Let's find a good value in here. I think two pixels should do it. Okay, now we can go back to the layer advance blending mode again. This will now work as expected, because we already correct the image levels before. Okay, Another example off heading a texture. It's about importing external raster image. Now I have suffered images that I don't load it from the Internet. This one. We can use this later for the grown area, and I have another one, which is this whole texture that I don't load it from textures dot com. It is my first Goto website for finding textures. Now I'm going to show different methods for each off this image. Let's select the wall image by pressing control a then press control see to copy it to the memory. Now go to our main file. If you are in full screen mode like these to switch between fouls, you can press control temp shortcut. Okay, click on the base color layer, then press control of the toe. Pace the image. Nor does the image is important in here as a new layer, and it is already clipped automatically to the base color layer. Now press control T to do free transformation on the image and just move it and scale it until it covers the back wall. But I center to confirm currently it just adding textures to anything inside the based color layer. To constrain the texture, we can create image mosque for it. So go back to the base color layer used the magic one tool to select this radian and this one and this one go back up. And while we have this selection like this, when we add Image Mosque, it will use that selection as the mosque region. Now, if we hide the alien, the portal and also the glow layers, we can see we have these nice textures on the back wall. Of course, if you think this is too strong, you can always adjust your capacity. But for now, we live this as it is Now we have these two layers for a texture. We can select both off them and impress control E to march them into a single layer. Another way to a texture is reading a prepared, transparent texture. These kind of texture. We will require you to do some off her head work, but once you have it, you can create a library off instant textures, which you can use later for future projects. Because it is transparent, it should be ableto fit to any base color of below it. Let's see how we can do this press control tab toe switch to the other file. Okay, at black and white adjustment layer. Then let's add levels. Try to make most off the colors toe white color. Okay, now, the idea here is to grab the dark color as selection and then feel in that selection. We can grab selection based on brightness by going to the Channel panel called Control and click on this RGB channel. Tom Neo. This will actually make all of the white color gets elected and the black color, Or should I say, the black or the color, the less election it will get. We actually need toe in first it. But first, let's go back to layer panel hide all of these layers and create a new layer that we can feel in with color leader toe in first the selection with impress shift control I or you can go to the select menu. Choose in first, we can see the short cut in here. Now we have infertile the selection big dark color, then press out the lead. So now we have this transparent texture image. OK, now off course. We don't need to see the biker in here. Use the rectangular marquee tool and select this region control. See toe copy to the memory control type twice to go back to our men file, click on the base color layer Press control V to paste the image we know have something like this. Use the freedom from tool to move it to the grown area Skelley So it covers the whole grown area. But we actually don't want these textures, Toby Feasible in stone areas. So go down and select the grown area with the magic one tool. Then go up. Create an image mask for this layer. Okay. Now, if you want the texture to be feasible. Also, in a bigger on layer, we can simply copy it. Let's open the big ground layer and we want to copy it above this three layer. So hold out and dragged this layer down to copy it. Of course, in this layer, we don't need this image mosque. So right click on it and end a Letelier mosque. Let's go back up to the middle ground here. I think I want to reduce the opacity toe 50%. Then select both off. This layers control e too much Them we know only have one textually year for the middle ground group layer for the background. I think I put this Taysir on the wrong layer. It should be on a forest layer. So bring this down to this position. Today is the capacity to 50% and finally renamed this layer toe T for textures. Now I want to add texture also on a foreground layer. But this video will become too long. The process will be similar. So I will do it off the record. You can see the final texture later in the final project file, I provided any scars 30. Workflow flexibility: before I close this cars. I just want to explain the possibilities that you can do with this workflow. The workflow is very flexible. It should be able to follow your own illustration style. For example, if you don't like the outlines, you can turn it off. Or if you don't like the texture, you can turn it off. Also, basically, you can use any graphic elements you like to use and skip or turn off the elements you don't want to use. You can also make revisions easily. For example, let's say you want tohave more stylized shadow color. You want tohave blue drop shadow, color. You can create a new layer on top off the drop shadow layer. Hold control and click on this layer. Stam new to extract it A selection. Hi, this original layer. You can pick any color for the shadow color, for example, this blue color and by using all the shade brush just at blue color like this, we can also create stylized local and global shedding if we want to. To do that, we can create a new layer in here and hold control and Schiff to extract selection from this local and global shading. Turn off these two layers and then just brush with the blue color. For example, we can also pick dark brown color to color the shadow at the left side. You know you can just play around with this. You can even just green color and and just feel all off the selection with that color. Another example. Let's say you have a client or on art director that want you to change the laser gun color in here to read. You can easily do that by going to the base color layer used to magic one tool toe. Pick this gun area and, of course, we need to unlock this layer if you want to add it. Let's be, for example, red color and just press out the lead to fill the color with red. Our, for example, we want to change the metal color toe. Other color. Select the metal radiance first. Then let's say we want to change the color to blue color. Just press out the lid, and now we have this shiny blue metal color like this, and let's change the fear to this rock blue color, for example. Okay, basically, your imagination is the limit here. That is all from me again. Thank you for taking the scars. If you have time, please write a good review about the scars because that will help me a lot. I really hope that these course will benefit you or Saleh Monaco.