Transcripts
1. Introduction Trailer: Create this stunning
technology concept in Affinity Designer together will create this exact
concept shown here, perfect for beginner
to intermediate users. And you can build
this project on both the desktop or iPad
version of affinity. We will teach you
the core principles to build a device from scratch, showing you all the
techniques along the way and should
you feel lost, the project for the creative
device is included. This course will begin with some basics demystifying tools, but within very quickly, moving to the creation of
your new device from scratch, guided along with you. So come and join us and create your first ever technology
concepts with affinity.
2. Gradient Tool: Before we get started, I just wanted to go over a tool and a tool
we're going to use really extensively
in this design, and it's the gradient function. Now if you're familiar with how gradient works
and how to use talk, feel free to skip this with you, but I feel it's really
important we dive into how to use it
because we're going to utilize it on almost every individual part of the build here to we
create any kind of shape. So we'll just draw
a rectangle here. For example, we go over to
the fill color options. We've got Swatches Color, and then gradient as an option. Slider here in the middle
of the gradient allows us to apply how that gradient is going to affect across that particular shape
or element that we've drawn. You can see here we've just
got white to black and pull the slider more
towards the black, we get more white
and vice a versa. Now we've got different
types of gradient, whether we go for elliptical, for example, which can
give us more of like a light source, shine or radio. Similar effect. And it's more of a useful, we add multiple points. What kind of cool? Just like a light source
from a different angle. Slide they were adjusting. Here is the midpoint, but we've also got
opacity and we can bring the opacity
down to me like 50. Here we can see even though
the gradient is actually going to be disappearing
rather than just the color, we've got an opacity gradient. This allows us to
have a fade that could be incredibly
useful if you wanted to fade a shadow out into invisibility or
something else we can do with a double-click is add in more points into our gradient. Here we can now go from
white to gray to black, but we could click on any of these points and change their
color reference as well. We could take this
middle point here, for example, and
give it a red hue. So we're going from
white to red to black. That's really important
that we understand. We can add multiple
points because if we have white as say our lightest
point as a source of light, we could add another
white point in later. To imitate sort of two light
sources coming together. We've got a real reflection of light just there and there, for example, we can get
overly complex with this. Now when we also pick
up the gradient tool, which is this one right here, we can drag this directly over a source as well and we
can apply the direction. And as you see here,
we've got the points that we insert them before. We can still move
those sliders and points where we can
choose the angle and the direction of the gradient to simulate light and
other movements. We've got all those sliders
and we can tweak them as needed because we're
going to use this so extensively
throughout this bill, It's important that
we use this tool, understand how easily it works, save as explaining
it multiple times. And that's how we're
able to change the angle and appearance of our gradient and how we can fade in-between the
different sources. Line them up exactly
where we want each one.
3. Creating the Body: Okay, so now we've set up our template with
affinity and got it open. What we're going to
start with is a template visual that we have on the desktop and that will
be provided for you. It should be in the downloads. Next to this lesson, we're going to bring
that over into affinity. We can do this by
going to File Place, selecting the image
itself and clicking Open. And then we need to drag across our template and stretch out so it fills up the space
just like this. The template was created using Procreate and
essentially you just tracing around an
image of an iPhone and giving us the dimensions
to work with. So we've got a visual aid to
help us in our creation in Affinity Designer
using the same method to bring in the template, I'm going to bring in an
image which is going to be our aim for our
final pattern. As we can see, we can
just drag that in the same way by adding
another image in. We've now given
ourselves two layers. We can see them on the
right-hand side here. There's a tick available
next each ones if you want to turn off or on a layer, you can simply click on that and hide it away for the moment. Now to continue getting setup, what we're gonna do is draw
ourselves some guidelines. We can go over to
the measurements on the left-hand side and
just drag through. And that will then present
us with those guidelines that we want to use
using Command Plus, we can zoom into the image
for better precision, where they're going to
give ourselves a guideline right down the edge of
the first phone here, which is roughly the
center of the image here. And Command colon
allows us to see those guides and
turn them on and off isn't when we need them. We're gonna go
through now and set up a series of guidelines. I'd like you to follow along
in your project as well. Whether or not you're
following along with the same project or
designing your own. It's worth having
these guides setup, it makes placement
of your vector shapes much easier
later on next, we're going to utilize
the rectangle tool to create our first shape. We're going to use this
rectangle tool and completely block how the shape
of the first iPhone. With the Move Tool selected, we can right-click on
our newly created shape. We can use the menu
to convert to curves. Now, when we use our Node
Tool over here from the left, the points will no
longer change the size, but they'll instead change the perspective and
curve of the shape, allowing us to match
it to angle and position that the
iPhone is presented in. If we hold the Space bar
while moving the nodes, they'll snap two are
created guidelines, which makes it much easier for
doing very fine alignment. To make things easier to see, if you select your layer, we have an opacity setting above and we can adjust the opacity. So we can then see are created shape and what's
going on underneath, making it much easier to line things up if you're
struggling at all, to line your shapes up
with your reference. With our shape layer selected. We're going to make use of the corner tool from the
left-hand side here. The corner tool will allow
us to essentially change the shape from a solid angle to a curved corner by
clicking and dragging. And as you can see, it creates a circle which gives us
roughly the corner shaping that we need to click and
drag until the circle matches the curvature we want
to appear on that shape. If you now put the
opacity back to full. So we've got a solid shape. We're going to
click on our layer, drag it down to move it
underneath our template, and then turn off our template. Zoom back out. We'll also turn off
our guides with Command colon so we can see the shape
we've created so far. If we turn on the layer
of our reference image, we want to make sure that
that kind of looks like the similar shape
and performance we've got going on so far. This is our first
foundational part. The first thing we notice looking at our
reference is there is a gradient in color
across the phone. We're going to take our shape, go to the color tools up in
the top left-hand corner. And instead of clicking on Fill, change it to gradient. And we can then start
applying our gradient by clicking on the
nodes at each end, we're able to then choose the
colors to define between. So here we can choose a very, very dark gray and a
very, very light gray. As you can see, that's giving
us a blend between the two. Once we've got our
gradient colors set, we're going to
utilize the fill tool from the left-hand side. With this, we can then adjust it for the angle of the
gradient to take place. And by extending it
extends the range of the gradient or by
changing its direction, it changes the direction
of the gradient effect, as we can see here. If we need to adjust our colors at all to get the
desired effects, we can go back into the gradient color tool and
adjust the colors as well. If you're struggling to get the gradient colors correctly, we can use the
color picking tool, drag that over our
reference image and pick the colors that we're
going to turn the template back on and see how our
newly created shape and gradient line up with
our original template. It does it fit in that space? Well, you'll notice that there's a beveled edge around
the site of the iPhone. And we can see that
there and our reference, we're gonna look at
creating that next. We're going to create
that by duplicating our layer with our Shape Layer
selected press Command J. And that will copy the
layer exactly as it is with the layer
underneath selected. We're going to go back
to our color tool and change it away
from gradient, back over to a solid. We can do something like
black in this case. Then we're going to
select something called the contour tool. Once we've selected that, we're able to see
that we've now got node handles all
around our shape. And if we drag it out slightly, it's going to create a larger
version of that shape with all of the curves and contexts
and everything that had before filling in our
beveled edge there. Now with our new
bezel layer selected, we're gonna put
gradient back on. Purely went to the solid colors. We can easily see
what we were doing. We're going to use
our filter and apply a similar gradient
fill to the top layer, but we're going to use
slightly darker colors so that beveled edge
stands out a little bit. Selecting the move tool
and the layer again, we're going to apply a stroke
to our new beveled edge, somewhere between nought 0.8. So one should help give us that little definition
between the two parts. The next section
we'll continue by introducing the Apple
logo onto our shape.
4. Adding the Logo: Now we're going to look to add the logo onto our template here. And this is gonna
be an Apple iPhone, so it's gonna be the Apple logo. We head over to the
Text Tool and drag a box onto anywhere
on our template, it will create a
new layer for us. And if we use Shift
Command K on Mac, that will insert the Apple
logo in a text format. We'll use the text
pixel size control at the top here and
change it to a 144, giving us a larger
image to work with. Switching back over
to the Move tool, we're able to then
move the text Apple logo over to our
original layers. We need to size it up and
get the angle correct. For perspective,
we're going to use that menu again of
converts the corners. When we do this, lots of points
will appear around our apple because it's
selected the node tool. We go back to our move tool. The curve points
are still applied. We've just got our
same boxed nodes before and we're now able
to change the perspective. We change our opacity
ever so slightly. Try and line it up roughly
with where we want it to be on the template that we've got made and we
can just very easily adjust it like this to get
that perspective correct. Now if you need to
refine the positions a little bit heavier
arrow over the nodes here and you see it turns to this
double arrow configuration. You can make those small
adjustments as needed. Now if we hide our layer on your template that we made before and bring the Apple logo. So it's now on top
of our two shapes. We've made that base and
the bezel who just open up our reference again and have a little look
at where we're at. We can see that our Apple
logo needs to be lighter. So we're gonna go into the
color and change that. We don't necessarily need
to give a gradient here. We're going to
apply the shadowing and that reflection in a
slightly different way.
5. Creating Depth: We're going to
create the edge of the iPhone now and give
it the appearance of having depth and being a physical object with
some depths to it. And it's relatively
simple to do. And we'll show you
the techniques now that we will use to do that. Before we start that however, we've already created three
layers and we're going to start creating many more
throughout the project. So let's start naming
them so we don't get lost among all
of our layers. To do that, simply
double-click on the name of a layer and you can give
it an appropriate name. Once we've done that,
we're going to use the command J Command a again
on the larger outer layer. So the one that
created our bezel and create more versions of it, we're going to name these
cutout one and cut out two. And these are gonna
be the layers we use to create the
depth of the device. We're going to switch our
template and back on again. Turn off our reference. Add some new
guidelines in memory, can just drag those
in from the side. Then we can use Command colon
to turn them on and off. Now we have our bottom
most layer selected here. And if we hold the Shift key, we can move that along our guides without it
moving up and down. So we can just move it into position roughly
with our template. Now on the two layers
that we created, we're going to go to that
color and change the color. So we've got a base color
and a top layer color. This is just so we can very easily define what we're working on and the separation of
two by holding command, we're able to now select
both layers here. Up towards the top here we
have a tool called intercept. Intercept is going
to allow us to cut one shape based on enough. And clicking here will allow
us to cut the bottom layer. Why the shape of the top layer leaving us with just
the edge shape here. Now we can see we've got the
shape cut out correctly. We can look to reapply
our gradient if you need to load up the
reference image here. But we're going to apply
a similar gradient to what was on the back layer, but with a slightly
lighter color. Remember, you're creating
your own renderer as well. You can experiment if you've done a different
color backgrounds, you could look to have the edges appear to be
metallic or be colored. You can really experiment
in creating your own hair. When we turn off our
guides here we can see the top of our layer is
starting to fade away. Just mean we went a little bit
too light in our gradient, we can just adjust
that as needed. Now the perspective that we
want isn't quite perfect. And the thing that
gives it away, or the top edges, just a complete duplication
of the previous layer. What we're going to do is use our Convert to
Points option again. And using the Node tool, we're going to just flatten
those out a little bit. We put guidelines in. So if you do hold space
and you could use your colon command to bring them back in
if you need them. Those will help us
just flattened it out precisely on those edges. If need be. You can always make another guide as well
and bring that in. So far we've been doing
this and by I two, give you an idea of
how it all works. But if we bring
our guide back in, we can see that we're
a little bit off using our guy and also of
transparency layer, would you use those notes
and just line it up exactly to the hardware
model where it's needed. And we can just tweak
each individual bit until it fits in and
looks just right. Now in our reference, the edges, clearly a metallic kind of Material and they have bit of
a different gradient step. In our gradient tool, we're going to add
an extra node. And we can do that
by double-clicking. And that gives us an extra
step in the gradient. And you can see
when we adjust it, it's adjusting the middle step of the gradient so we could go dark to light to
dark, for example. Looking again at our reference, we can decide whether
or not we need it to be darker or lighter as well. Looking at our reference, there are some extra layers
and reflections happening and we will tackle
those a little bit later using some
different techniques.
6. Camera & Shading: Next we're going to tackle
adding the camera interface. So if we switch our layer back on to bring over our template, we use Command colon to
bring our guidelines back. We've set the guidelines here in the most appropriate
place for us to build this camera module. We can zoom in closer
using Command Plus. And just like before,
to add new guidelines. Just drag from the top or
site measurement and we can just bring our
final lining just here. We don't need all
of the layers here, so we can switch off
these color layers. If we still have them engaged. We head over to the
left-hand side here we can use our shape
selection tool. We're going to drag a selected
shape over our guidelines, which is going to cover up
that camera module for us. Now like before, when we
change some of the colors, It's just a simple
quick visual indicator for us what area that is. In this case, we're going
to change this to green. And then we're going to
drag it down and drop it in with the rest of the layers. That way we can still see our
template above it as well. By selecting our arrow tool, we're able to then do
things like skew the image. We can help it align
up the camera module, much like we did before. Take the time to get these to line up with our
guidelines as well. As well as lining it up
with our templated image. We'll use are convert
to curves menu, just for that fine detail there. Now let's select
our corner tool, just like how we rounded
the corner edges before. We're going to do the
exact same technique to round the edges of our square that we've just
aligned here to fit the camera module
on our template. Now let's turn off our layers is Command codon to
turn off our guides. And we'll zoom out again
with command minus. And what we're looking
for is just to make sure the perspective seems correct when looking at
what we've just created. We can adjust our
color to give it a similar gradient to help
us view that perspective. To mean like a lighter
relevant color to our reference image can
also be really helpful. Now our mock-up has depth
and a beveled edge. So we're going to
look at creating that now as the next part. And we'll do it much in
the way that we created depth in the device itself. To create the depth
and the bezel, we're going to
need three copies. So if we select our layer, we can right-click and select Duplicate who used
the keyboard command, command J to create those. Be sure to take the time to
name these layers as we go. As projects will only get
more complex from here. And having a good admin and good naming will help
you out as you progress. For the moment, let's color each individual layer so we can, with a very quick
visual reference, see which layer is
that we're working on. We know which layer would cut
into another red and green. Obviously a perfect
contrast while holding command select
your second layer. Then we're gonna
go to the top menu and use subtracts and subtract. We'll cut that top layer
from the one below, leaving us with just our
beveled edge in the red there. Now if we select our
new beveled edge, we can look at
adjusting its color, who bring it back to
a darker gray now, or even a black that's gonna
help create that shadow and depth kind of view
that we're looking for. It, whatever color you have
assigned to the top face. Just use the visual slider
and you can see when it looks about right and starts to give that shadow
effect just here. Just like we did for
the body of the device, we're going to apply a gradient to these layers now to give it that feeling of deaths
and three-dimensions, as well as it helps with the lighting effect of
it being a 3D object. Again, you can do this lighting preference however you like, or copy the reference here. We're just going to apply it the same colors and
there may be light in the market in different
areas to give a feeling of a
change of material. But we wanted to make
sure that the angles are also relatively the same so that the reflection and
the light source appears to be coming from the same place using
lighter colors or allowing a more vibrant part of the gradient to
shine through gives an impression of a
different material. For example, the aluminium metal needs to be darker
going through to light, whereas the camera base here
that may in fact be glass or another shiny material
will need to be a little bit lighter
and have more of it, lighter gradient showing through
to give that impression. And we can see
that the invisible on the reference here as well. Now to add some extra depth to our basal layer that
we created before, we're going to add an effect
to it that helps give it a kind of shadow feeling as if the light
has been blocked, but not quite because it's
a translucent object. If we have our layer selected just to the bottom
of our Layers menu, there is the effects icon. We're going to use the
effect gaussian blur. And as we bring up that slider, we can see it applies more of a blur effect to our layer here. And we just want a
little bit of it just to slightly diffuse the edges
of that Bezos layer, giving that feeling of a translucent objects and light passing through and
creating a kind of natural shadow feel is
utilizing effects like this in small details that
give the feeling of a render being a
real physical object. It's important to
pay attention to these smaller
details because they do have an effect on your overall perception
of the final image.
7. Logo Shading: So we're going to continue
with our gradient and shading as well as some of
the shadowing and details. The first thing
we're going to do is add a little bit of an under shadow and bezel to the
camera module here. Like before, we're
going to create two more copies of
the camera module. Then we're going to
change their colors to red and green respectively. What we wanted to
do, we are going to align this top layer. So we've got just a sliver of the bottom with the curves and everything in the
right place for us. It's to do this as we need. We're going to move
it up slightly. And then we're going to need to adjust the top
layer until we get the desired curve and shadow appearance we want
in the red layer below. Just like before, we're
going to hold command, select those two layers
and we want to subtract. So the top one cuts away
from the bottom one, leaving us with just that
little sliver there. Now we just need
to drag this back up in our order of
layers so we can see it. Now we're going to
adjust the color. We're gonna make it a little
bit lighter here to give that impression of the
light shining through. We're going to use the
Gaussian blur again, just to give it
that little bit of fuzziness around
the edges because a shadow and something
having a light obscured through it is never
that precise defined edge. We want a little bit of natural shadow and
fade going on there. Gaussian blurred gives
us just what we need. Next, let's pay a
little bit of attention to our Apple logo. How we would get
that defined kind of brushed metal gradient. To do this, we're going to use a technique called
a clipping mask. So let's create two shapes
to show you how this works. We'll create a red square and let's just create
a circle as well. We'll just change
that color to green. So this is nice,
easy visual to see. Now on our layers we're
going to drag the green one into the box of the red
one you see just below it. So it now just there. And it disappears from
our view when we let go, we now have a clipping
mask. It's still there. We're able to move
it and we can move it into any position
on the square, but it will only be shown
through the square itself. This is called a clipping mask, and it's a really
useful technique for creating specific
shapes and effects. And we're going to use
that in a second to create the grading effect
on the Apple logo. We can also apply
this to some of the finer details as well. So let's just delete
these away real quick. What we'll do, we'll look
to create a clipping mask with the under shadow part
that we just made as well. So we can take this
and just drag it down below our
main section here. And now, it will
only ever be visible below that main piece
of glass that we made. Because of that clipping mask, we're gonna whisk
it that hard edge, but then we get the blurred in Gaussian edges that we
put in there before. And we can adjust the gradient
to however we need it. The best visuals
that we're after. That's no set parameters here. Just visually look at
it and decide what you think really suits
it and sits best. But by using that clipping mask, it just makes those
blurred edges. And the Gaussian trick we
did a little bit easier. So let us select the Apple logo. Will do this slightly
differently, but using the same techniques
makes the logo lighter. That's going to be easier for
us to see what's going on. Then let's just draw a shape. We can just take the pen
tool and draw something very simply that goes through the
logo like a triangle shape. As long as it's a closed check, it's gonna be absolutely fine. Triangle being the
simplest we can do. Then we'll change the color
of that to be a lot darker, as you can see at the
moment, it's just laying on top of the apple
is very, very simple. Remember what we just learned
with the clipping mask. Once we bring that through, the Apple will define
the shape of that. Let's bring it down. And there we go very easily. We've got that hot, very hard clipped gradient using Apple template
right there. We're almost giving
the impression of a reflection and that
really shiny part of the brushed metal. But like before, we can
then use gradient or we could even use Gaussian
blur and very, very lightly define and shape
that to how we see fit. For example, we've
done this far more harshly than in the example, but we can tweak it and
dialed in as much as we need. But also not limited to
how many times we do this. We could create
multiple layers or multiple images within that
kind of clicked reflection.
8. Lens Design: The next asset we're going
to look at creating are the lenses for the device. If we begin by
bringing up our guide, using our guide lines as well, can make sure that we just add all the ones that
are going to help us line up correctly with the three lenses as
shown on the device. To start creating the lenses, the first thing
we're going to do is choose the ellipsis tool. And then just begin by drawing our first circle within
our guidelines here, it's useful to change the color to something that
easily definable would just choose black for
the time being as it is not used and we
can easily line that up then if you
find the red or green easier for you,
go down that route. As before, having our arrow
tool selected allows us to adjust the shapes so it
fits within our guideline. It's going to help us have
that consistent perspective. Once we have that fully aligned, we're going to duplicate
that shape much like we did before when creating the
camera basil itself. You find it useful here to add some extra guidelines for the other circles in the camera. And we're going to move our
second layer up to again, create that
perspective and depth. The second layer,
we're going to make it a darker tone first. Once we've made it that
darker tone will then just move it up to the new
guidelines like so. When we turn off our guides, we can actually see
that very simply even just these two
colors have given us the appearance of depth in the camera are
ready because of the perspective and the way that we perceive how they look. So it's working for us already. Now we're going to duplicate
our top most layer again, which is that gray layer. And we're going to rinse
and repeat to create the other circle elements of the camera has exactly
the same technique, will make use of the perspective
of the guide each time. And what we'll do here
as we start to get multiple layers is we'll
assign some different colors. So just a quick glance, we can see where we're at, what layer we're working on. Because of all these
Bezos, layers, circles, if they're gray, it can be quite difficult to quickly see where you're
working and what kind of perspective you've actually got to use the red
and green again, so we can see what
we're working on there. And we can cut those
out the same as we have for the other
layers as well. Now we've got the basis of
the first camera module made. We're going to look at getting the color and texture
assigned correctly. And we'll work from the
outer ring to the innermost. We'll start with the most outer, which we can see in our example. It's got a nice shine
around the site. So we need to emulate that
using our gradient tool, much like we did before. So we need to choose our gray. We can do this with
our own visual choice, because remember, we could be creating anything here.
We could choose colors. We could be creating a entirely green device
if you so desired. What's important is to make sure our light reflection angles
of the gradient remained consistent to the feeling of directional light always being consistent and thus are real. If you find it helpful, disabled some of the
top layers as well. It can be easier to see
and adjust your gradient when you're just looking at the one area that
you're working with, rather than having all the
layers stacked on top of it. Now this element
really stands out is to find it has hard edges. So we're going to use
the stroke tool to make sure we've got the right
layer selected. Up the top. Here we go to Stroke
and we're going to introduce a stroke as you pull the slider along here you can see
in real-time the effect. It has something you can
just choose by eye but quite narrow just to add some
hard lines around there. We're gonna go to our
Effects menu again. And this time we're going to use something called outer shadow. This is going to let
us create a shadow based on the shape
we've created. And we need to set the angle
similar to our gradient. So it gives us a shadow effect. Naturally depending on
the fake light source we've created using
the gradient guide. And you can see that as
we bring this slider, I add more and more
shadow around. We need the angle to decide
the correct angle of that. So we get more shadow
at the bottom as if the light sources
coming from the top there that you can see
doing that suddenly gives us so much more
depth in that part. Now we're going to be in
working on the red layer here. So that second inner rinks, if we select that, and let's give it its color, will do it black for now that we may adjust
that as we go. For example, our
reference shows it to be kind of a darker
gray type color. Now part of the
perspective issue here is coming from the stroke has been applied to
the bottom layer. If we select that again, we're looking at the gradient
section for the stroke. We want the gradient to
also apply to the stroke. So it's more intense to one
part than it is the other. And that will help us in that perspective
shift because it's adding that stroking in a place that we
don't want it to be. Just need to casually tweak
this until it feels right. There's no specific settings that are always going
to make it perfect. But if we follow along here and see that we're just tweaking, having a look and seeing
how it changes visually. And you'll notice that when we put that gradient in there on the stroke that it is
more defined on say, the left, the bottom
than it is the top. And that helps give
more perspective of that being a shape
that sticks out. There we go. We've created the first part of
the camera module.
9. Lens Fine Details: Now we're going to create
the iris of the camera. Now this is arguably
where most of the detail goes
into this design. And we're going to
have to create lots of layers and lots of
different detailed parts. So what we're going to
do is create that in a separate file and
then bring it over. And we'll do that
just for clarity so we can see everything
that's being made. And we'll bring our example
template over so we can look at that and
use it as a reference, just Command N to create
ourselves a new file. And then we just have
tabs across the top here. And any elements we
want to bring over, we can just select those
layers or the group. Press Command C and
then tab over to our new file and Command
V to bring them in. So as you can see
here, we've for a reference and we've brought the bass part of the
lens we built over. And we're going to
create the iris inside that and then make it into a group and bring it back
into our original project. Now we're going to
create this lens here. And we already have circles and everything created
at perspective. We want to change the
color and sizing, etc. So we're going to use that
command J to duplicate. Then we'll adjust
the color light before so we can always see
the layer we're working on. Again, it can be useful to do a really bright contrasting
color if you need to. We're just going to be
black for now because that stands out amongst the
gray really easily. And now we're just going
to apply our gradients. We've already got the
gradient in there as we add more layers
and adjust the colors. Once we do this, it will look
like a little speaker icon. Now the two main tools we're
going to be using here are going to be the cup tools like we've used before
to cut one shape, you're using another
with the mask. Then we're gonna be
using the blend tool. That's what helps us get those translucent looking
layers of different glass. We're not going to go over what every single blend mode does. But we'll show you the
ones that we're going to use and how to utilize them to get this glass effect
here on the camera lens. Now we're going to work
systematically the best we can in creating and building
up the layers working from the
back most for it, I'm going to start
with that little green curvature just here. The first thing we're
going to do is copy the new layer we just
made using command J, and we'll disable
the layer below it. We don't need that
for the moment. Now it's kind of a
complex crescent shape that we need to create here. Again, we're going to cut that out using those masking tool. So we're going to
create ourselves a new shape will make it red so we can see exactly what we're using and what we're
cutting width. And we're gonna place that
to get something close to the sort of
reference that we need, that little sliver there. Now if we move our
red layer below, we can see the exact kind of
cut out we're going to have. So as before, if we
hold Command and select both of the layers, we can then cut one
from the other. This case we wanted to
use intersect rather than subtract to
give us that shape. Just there. We've got
our shape cut out. It needs some fine
tuning and adjustment. One thing we're going
to do is just drop the opacity down
of this red layer. We can see its relationship
to the other layers below it. While we adjust it, we just want to get
that kind of curve, that ring edge like we
can see on the example. We'll do that using the opacity test to get
those curves showing a like. So now in this camera iris, there's a little bit of a
green reflection going on. We're going to change the
color now of this layer. And like before, we want to apply a gradient
so we can use the white and green using
the white to be the really high
reflection and then the green slowly fading off, just giving that kind of tonality that you see
in the camera lens. And again, it's something
we can set the colors. Forget roughly how
we want quite a dark green, really bright white. And then define how the gradient is going
to reflect just using the controls here and tweak
until it looks correct. There's no perfect sayings
or angles to place it out. It really is a preference and design choice
made by yourself. This layer blends
with a darker layer below it and we get that
gradient shine through. We're going to change our
blend layer to pin light. This should work nicely
once we start adding more of those reflective
layers on top of it, we're going to go down
to our gray black layer again and duplicate
that command J again. And this time we're
looking to create that crescent on the
right-hand side. So our second layer
of reflection there, and we're going to use
the exact same techniques we've already used. So we're going to draw a
shape and do the intercepts, but we're just looking to get
that little crescent slice on the right-hand
side this time. So we can then create
that reflection, thus adding more depth. Now it's time to use our
gradient tool again. Now in this part of the lens, we tend to get a darker blue, grayish reflection that the color choice
can be up to you, but we need to go
between that color and white far absolute peak
of the reflection. And then we're going to
dial that in as before. Select to take this moment to remind you that if you're
struggling with this, if you have this project file, so absolutely open it. Feel free to copy one
of the lens is into your own project and
work on it side-by-side. Have a look or the
finished layers and all the finished settings if you wish to emulate it precisely, and then try and
recreate it yourself, It's there as a resource
for you to use. Now with our reflection here, the blend mode is going to hugely effect how
this is perceived. And this is really good example
of having a look through the different blend
modes to try and achieve the result you want. And you can see that if we
leave it on certain ones, it seemed to really
reflective like bright light. Others give it a kind
of tainted feel. Some give it instantly that great 3D blend that
we've gone for their. It depends what
you're after and what you want your end
result to be like. But that really is
how we achieve it. We get these different
layers in and have to dial and tweak them by I over time to get the desired
look at fear lift up essentially glass camera lens which reflects
everything around it and simulate the environment
that, that was in. Here, we're just
going to experiment with different blend modes, different gradients to give a different reflection
from different angles. You can do is repeatedly
copy your lens, adjust it, and
save this project. And then you've got
all of these kind of bookmarked for later
and you can just use them in other project
prebuilt ones with different reflection types
and visuals that you can then just easily adjust the size
of once you've created your lens and you're
happy with how it looks or even your
batch of lenses. What we want to do is group
them together and name them to me to select all of the layers that are
gonna be involved. You can hold Command
and click each one. I'll click the top
one, hold Shift and click to the bottom and
it'll highlight all of them. Command G will build a
group of those for you. And I would suggest
that you name them specific lens types
each time as well, especially if you can
save them and bring them over into your other project, then just the case of
selecting the group, pressing Command and
C and going back to our original and we're going
to drop that lens in there. And we can put it in
our camera module that we built on our
device or ready.
10. Further Camera Detailing: Now we're going to begin
working on some of the finer details on
the camera module. Once we've done
the first one will then duplicate it two or three, and we'll adjust the
gradients to get the correct lighting
effect for each one. What we're going
to start off is by having a look at the
gradients we've got going on, on the current layers here. Now if we look at the outermost
ring in our example here, it's got dark, light
and dark again. So we're going to add
some extra colors into our gradients
on that base layer. And that's going to
allow us to have those extra points of light. As you can see there is we add
them in and we'll just use our handle to adjust those key points to where
we need them to be. Once this is setup on this one, we're then able to apply that when we duplicate
it to the others, having those two
white points there, we're able to simulate
the effect of there being a light source
reflecting in two places, but it's absorbed
by the camera lens. And you see we've got
those two reflections there on the left and the right. So we made a little mistake. The bezel edges we can
see in our example, one is metallic or metallic in color and we left it
black for the depth. So we're going to change
the color of that. We're going to apply a
gradient to it as well. And we need it to
have a similar shine and tonality to the
outer edge as well. You see the light
reflections need to represent and be
in the same space. But we also want the
gradient to show that there's a different angle
and different lighting. We just need to
dial the end until it visually looks correct. And we'll probably need to add the extra points in as well
as the gradient as well. Spend the time here tweaking
and perfecting that. So it looks as real as
possible just by dialing in small gradient
changes in getting that reflection to appear
as best as it possibly can. Applied that extra gradient, the two layers are blending
together a little bit much. What we're gonna do
on the bottom layer, which is going to
up the level of the stroke giving
just a harder edge. We should show some
nice separation between the two
layers as if they were fitted together and
to metal separate part. Something that can
really help sell this effect is to use the
gradient on the stroke as well, giving the exact
same reflection in detail that's happening on the color and the overall shape. The stroke still
gives that hard edge, but then it still is affected by the lighting and the
reflections that are happening. Otherwise, you've just got
a very unnatural hard edge. So we're just going to
apply that here as well. Now on from here,
we're just going to continue using the
exact same techniques, the same layers, the
same gradient tweaking, just to dial in that lens. We're not gonna do
anything new feature wise, but I don't want to
skip over anything. So I want you to be
able to visually see every step that we take. But there's no
guidance needed here. We're using the same techniques, just dialing in by i, him based on our reference. Now if you haven't already, we want to make it
the entire lens, a group and you name it
something like lens, one lens left, whichever
works for you. Once you've made this a group, we're going to fold it down, select it, and do Command J, and we want to duplicate it. So we've got three exact
copies of this lens. We're then going to
bring up our reference and we're going to move
each one of the groups lens 123 over into the
correct positions.
11. Camera Base: Now we're going to create the reflections on the
base of the camera module. And to do that,
we're going to use that clipping mask technique
that we used before. We're going to make sure
we've got a camera based, select it and then we
need to draw in a shape. We need to draw a
shaping that's got a hard straight edge. But before we could do a triangle or some
kind of rectangle, anything that joins
up and gives us that hard edge long enough to go all the way through
the base will be fine. Assign a color to it. We need to be ever so slightly
darker to get the effect of the lighter side being
over on the right-hand side. I'm going to drag it down into the base of the camera
that we made before. So we get that clipping
mask and we can see exactly what
we're working with. There are top lens, we have a reflection that overlays with the brighter
part of the base. So to create that, what we're going to do is
go up to our top lens. And we need to find the layer in there that's
got a large circle. We're going to duplicate that. We can use the base layer and then bring it up if need be. Select that command and J to
make a duplication of it, we're going to set the
color to be pure whites because it's gonna be
a reflection of glass. Let me bring that up
to the top layer. It's going to look really odd. But we're going to use
that same technique again of a clipping mask. What we can do now is draw a
shape of the clipping mask. When we close out that shape, we'll just have the
little slither leftover. And if you look, we're
lining that up with the reflection base
that we've put on the base of the
camera module there. Because we wanted to
simulate the gloves fully reflecting
the piece of light. We're just going to make
it red so we know we're cutting one shape via another. Then once we've selected
the two together and we're going to use subtracts to take
one shape from the other. And that leaves us that
perfectly white part that as the reflection.
12. Camera Module Details: Now we're going to
work on the real fine detailing in this
camera module here. We're going to look at
building the flash in, I think in some of the
extra shadow layers. And then lastly, introducing
that LIDAR sensor, we're just going to do
something here to make life a little bit easier for us. We're going to bring our
reference image below our render and just
make it a little bit larger so we can get
them side-by-side. So when we zoom in, we can really look
at the details of what's going on side-by-side. Once we've lined that up, what we're gonna do is switch our template back on the way
things are looking good. We can now see from
the template layover exactly where we're gonna
be putting off flash. So let's begin making
the base for our flash. Open up our render
and just make sure we're on the top layer here. So anything we draw is going to land on top of
everything else. And we'll grab our ellipsis
tool and we're going to draw ellipses tool in over
the flash on the render. Just very simple circle. Obviously the perspectives
not going to be perfect. So we can just zoom ourselves in here and we can
finally adjust that. Just utilizing the
handle a topic just to skew it a little
bit for the angle. Once we've tweaked that and got it in just the right place. Let's assign a color. We're going to go for a
light gray or silver here. We're going to adjust this
and apply gradients as we go. Just have something that
we can see and it's gonna be roughly
what we're after. And you guessed it, we
need multiple layers to do the edging and the
shadow, the detailing. So we are going to duplicate our newly
created layer command J. We're going to need three
of these to start with. And like we've done before, let's assign some
contrasting colors so we can see what we're cutting out against one another with a really clear contrast. So here we've gone
orange and green too. First things first,
make sure we've got the correct layer selected. And we're going to look
to make that top layer slightly smaller within itself and we're
doing it so we can keep the correct
perspective, won't. So we've got that
roughly lined up. We've got those
edges showing up, which are gonna be
the highlighted edges looking on our reference. We need to duplicate
it another three times because we're going
to use this multiple times. Now select one of our
new smaller circles and one of the
larger green ones. We're gonna cut those
out together to give us that outer rim cut out like so we've now got multiple layers at
the same color. So our bottom layer, that's actually going to be
the visual of the flash. It's just change
that to a yellow, get roughly to what
the flesh color would be just as a visual
indicator for us there, back on our newly cut
out beveled edge. Let's have a look at the stroke tool and we're going
to apply a bit of a stroke there to give
that hard edge definition, we need to separate it as being the metal body versus the
glass front of the flesh. Now let's take our
second green layer. So the bottom most, we're going to move that
ever so slightly to the right hand side
and that's going to become that hard metal, the beveled edge on
the left-hand side. You see we've created
two separate parts here for each side of the bezel. Now, almost exactly the same as we did with
our camera lenses. We're going to add
that gradient and make sure we've got the white
for the absolute shine. And then some variation in
the gray as the outer line and tweak it until we've got those correct values giving
us that shine of light. You can base it on
your camera lens, ideally the one on the top left, whatever kind of shine
position that's going to have is going to be
best for you to mimic, but something along those lines. Now here's another technique for getting a really fine shadow. What we're going to do is copy that one that we've
just made and given a gradient and we're going to
change its color to black. Now that we've
changed its color, we're going to use the
arrow command keys and move it over just
ever so slightly, just a touch, It's just
going to hit a very, very small shadowed
edge that way. So let's move onto our yellow
layer of the lens now. We're going to have to duplicate
this guy again as well. So Command J to make
a copy of that. And what we're gonna do
here is we're going to make these ever so slightly smaller. So we've got those
lens flashes inside the flash itself and lighten them up ever
so slightly in color. Let's do some of the detailing in side of the flashes as well. So what we'll need
to do is duplicate this lighter color one
that we've just made. Just come on J to
make a copy of that. We want to shrink it down
and then we're going to just turn it 90 degrees. So just tilting it on
its side, like so. We're just gonna
change the color. To something a little bit darker so we can see
what we're working on because we've got
the same color on top of one another
at the moment. Once we've lined that up, we want to copy that as well. Then we want to
switch the color back to be a lighter color, but not quite as light
as the background. We just made it darker, so easy visual to work on. You can see on the
example there, we've got these extra flash
details in there as well. We can then select all of these layers once we put
them together and we're happy with that initial part of the flash and simply
copy them over. So duplicate them,
drag them along. And we've got our
flash built there. It looks slightly
off on perspective. So I think if we just
highlight that one and move it down just a little bit, that should help adjust
that perspective and look a bit more correct if we can definitely see that in our
reference as well, that second part of the flash is slightly lower than
the initial. Feel. A little bit more shadow
here is perhaps needed. We're gonna take
our gradient layer here and drop down to
the effects panel. There's a feature in here
called outer shadow. We've used this before. We're going to
introduce a little bit of drop shadow using this most important thing here is getting the
angling correct. Otherwise it will shadow all
around in an unnatural way. But if we get the
angle just right, it will give us that
little bit of shadow, just their blur to it can help really
good detail as well. This is maybe a bit much
as it's such a small part, but when you zoom out, it can look a lot more
natural to have some shadow or reflection type imagery
going on in there. Now our reference image
here is suggesting that it's also heavily
lit from Britain, the side of the device
which gives these kind of stretched shadows
from each camera lens. We're going to have a
look at the drop shadows were applied and they're
going to be applied already to each
camera lens because we put them in there when
we created the lens. We're just going to adjust
the angles and lengths to try and mimic that kind of
shadowing on them there. Now if we bring the
template backup, we can see that we actually
don't have the LIDAR sensor, the microphone drawn in on us, but we can see that
there in the reference. Let's have a look at continuing
to match that reference. And we're going to
create the LIDAR sensor. Now we can be really
clever about this. We've already created
exactly something that size, shape an angle in our LED flash. Let's just copy part
of an LED flash layer and bring that down
in a copy there. And we can just drop
that straight in and then look to adjust the
color and gradient. Is this more of a
gray with a maybe slightly lighter at the top
to darker at the bottom. Kind of effects going on. Looking pretty good so far.
13. Button Design: Okay, Now we're
looking pretty good. It definitely looks
like a device. The camera module looks
really nice because we've done those stripes that
detailing the bit of shadow. The body now needs a bit of
work doing to it as well. So we're going to look at
some of the detailing. They're creating
those fine edges as well as adding the
button on the side. What we're going to
begin with doing is finding our layer for
the side of the device. As we can see just here. We're going to begin by
adding a stroke to that to give it that little
bit of separation from the back of the device, much like it looks like on
our reference or real device. An iPhone in this case also has that hard bezel damage in
pretty much every case. Let's create the button on
the side of the device. Now, we'll bring up
our layer here so we can see exactly where it is
because it's drawn in there. With your concept design, you could place it
wherever you like. Now to draw this in blue, use the rectangle tool
and we'll literally just draw a shape on top
of everything else. Now this little handle
up here on the top left, tiny little red dot. We can use that to adjust
the curvature of the shape. And then we'll just
apply a new color. Nestle this in the
correct layers folder. If need be, give it a
quick name as well. Now it looks a bit odd, it's just flat on the
side of the device. So we're going to make a copy of the layer we just made,
which is the button. And we're going to
change the color. We'll just do a
solid black here. What we're going to do is
ever so slightly adjust the positioning by making sure we've got that
layer selected. We can use the down arrow and the right arrow to just ever so slightly move it
away just to give that a little bit perspective
of depth in there. And we'll zoom in a second. Just have a little look at
how we're doing with that. And we can see in real-time
as we tap the arrows, the movement and the depth
that's been created, we want to give the impression
that the buttons really, really close to the device. So it's not necessarily
giving off any shadow, even though we know we're
going to also backlight that device with another
one like our reference. We just wanted to give
the appearance of a tiny little fine
gap which we would only see from this side and not the other because
of the perspective. Now there is an effect
we can use that will help us further
emphasize this. If on the original layer rather
than on new shadow layer, we're going to effect and
we use the emboss effect. This will help us kind of have the feeling of the gradient like we've gotten
everything else, but it will just
highlight the edges out for us as we can see there. We can see they're
just engaging. It gives us some of the
feeling we want it as if the metal body has
been ever so slightly cut around the button like it
would be on-device part of a design choice just helps send it a little bit more than it's a real physical thing. Now, one thing we
haven't done here, we've got it quite close
to the back edge on yours. You could absolutely
move it to the center. It could be a circle, it could be down at the bottom, completely up to you. This is just where
we've put it on this one because that's how
it appeared on the reference. Now it looks okay, close up, but if we zoom
out, does it sell? Is it obviously there? Yeah. It looks pretty good. It sits nicely on the
devices in a good position. It looks as if it's
ever so slightly protruding and it's also
engraved in That's perfect. Well, you can guess what
we're going to do now, but let's have a look at
applying a gradient so that that lighting texture across the device matches with
the button as well. Because the minute it stands
out just a little bit. So we're just going to adjust that edging gradient
right there. And then we'll tweak it in
with the button as well. Now, I like car design. However, if we have a
look at our reference, we can see there's
actually a bit of a texture flat surface created
on the button as well. Let's have a look
at how we would apply something
like that as well. If we wanted to go down
that kind of design route, what we need to do
is obviously select our top layer again
for our button. We can use Command J to
make a duplication of that. Again, what we'll do here, we'll make a slightly smaller
offset version of it. And that's going to allow us
to have that kind of feel of the smallest surface with the curved edges going
in and then shadow as well as if it's embossed all the way around
the edge of the button, as we can see here,
very simple technique, but it gives us a very
different view of that side part being different shape and subtly
engineered differently. Now let's have a look at
matching those gradients. Now we've just given a
top and then some sides. So what we're gonna do is
look at doing a gradient on the side of the button first, which is going to be
obscured from light to it needs to be in the same
kind of shade and color, but absolutely darker, but
not all the way to black. We'll look to do like
a dark gray kind of thing there and see
what we can do with that. And then the top side
of the button can be essentially match to the site of the phone unless we wanted to stand out and be defined
by different color. Now we can go hyper detailed on the smaller
details because they sell the overall
appearance of reality. When we put in these
gradients in this, at multiple points, we have multiple points of
light and reflection. Remember we do that just
by double-clicking on our radiant slider that will add another point of color in. We can make use of those
middle ones being white. So like a pure
reflection while having the grey silver or wherever
your tonality is in-between. This allows us to have
the shine right at the top here and in
the middle section, while going to the much
darker as it curves around to the obscured
light part of the button. It, we're just going to keep tweaking those
gradients and making fine adjustments until we're
happy with our result.
14. Antenna: All right, So on our reference
that our antenna bars, so these small plastic areas where the signal can come
out from the device. And when we load up
the reference here, we can see where
they're going to be. This is gonna be super
simple for us to make. We've used all the
tools and techniques. So let's grab a shape
and we're going to draw a shaping
where it should be. Just give it a
nice straight line like that and we'll
change the color to solid black as that's how
they appear in most cases. Maybe we want to make it white and blend in
with the device. It's gonna be a preference
of your choice. Then let's just use our
reference to line up the angle and get it
in the right place. And then much like before, we're going to use
that clipping mask by bringing it down into
the correct layer. So the side of the
device in this case, which will then cause
it to create a mask based upon that shape and it will be cut perfectly to size. Because our perspective and
everything's already put in. It will even cut those sides off the correct angle and give it the correct perspective look. And everything. Got very, very simple
thing to add in there.
15. Creating a second device: You're probably thinking, right, we've still got so much to do. We need to create the MAX device and there's lots of other
shading and things to go on. Martin going to show you
some things in a minute that are really going
to make you smile. The first thing we're
gonna do here is just find our side layer here and
we just need to give a bit more depth and shine
into that side layer. So we're going to use our
gradient again when they add some extra points
in so that we can have a much darker point in going into a
lighter point and then darker again with the kind of reflection and
going in there. Again, completely a
preference you can tweak this to however you
think is right and however you want your
lighting to appear. These are just the
techniques we're using here. As you can see, the device
we've made is ever so slightly different to our reference
just based on those choices, you can just keep refining
it and tweaking it and taking it further
and further and further until you're happy. What we've done here, we've
now got a black point, as you can see, and then
we can do to white points. And that gives us
two light points of reflection is if there's
something real material, say maybe blocking the light
or the angle of the light, just allowing those
reflections to shake platelet. And we can just use
our sliders that we use right at the start of creating this just to keep tweaking that and getting
it to where we like. Now we're gonna look at
making the second device, the one with the screen
facing towards us. First thing I would
like to do is just tidy up the project
a little bit. So we've got loads of layers, open it in a minute, just
going to scroll through, tap on the triangles
and just condense those layers down and
you'll see why in just a moment It's going to be much more beneficial to us
if we work in this way. If we've ended up
with any stray, like we've got all
of these parts here. They're not in a group. Let's select all of them. We can hold Shift and
click the top and the bottom and then do
Command G. That will, by default take all
of those parts we selected and bumped them
into a group for us. And we're gonna get
with these things grouped together
because we're going to reuse a lot of these
assets in just a moment. Now let's get all the parts of our device apart from
the camera module. And we're gonna make those
into a group as well. We're going to then duplicate that group with our
command, J Command. And this is going to
be our back phone. So rename that new
group backbone. Then we're going to bring
our template backup because we've got that new group that's been duplicated
and it's got all the elements apart
from the camera module. We're able to just
slide that over and bring it into
our guide there. And then we can just use our
size markers to just get it roughly in the right
position and to the right size and just give
it a little stretch there. The beautiful thing of
building everything out of vectors is it resizes perfectly. And voila, we've essentially got the
second phone bill already. Alright, let's make the beveled
edge around the display. So we're going to open up
that group for our backbone. We want to find
the layer that was the curved edge around the
back of the previous device. And we're going to change its
color to be a solid black. That kind of gives us what
we're after right off the bat. But what we'll do is then
look at the layer above that. So it's gonna be that
gray gradient layer. And if we just shrink
it down a little bit, we just get that nice solid
black or beveled edge there around the
edge of the device. Looking good. Now let's
address the buttons. We're looking at the
flip side of the device, so it's got these volume
up and down buttons. Well, fortunately, we already created that sleep-wake button. So inside R group here, we can just highlight all
the layers that make up that button command
J to duplicate them. Then we can rename them so we know which one's gonna be which. Then very simply we can
adjust them, move them, and re-size them to fit the volume buttons on the
flip side of the device a, using our layer here again, we can just resize them
exactly as we need, making sure we've
got their groups selected and they'll
already have the depth, feel and correct
gradient and lighting. But again, we can tweak
it if we want to. And then we can
just copy that over once we've created one to make the next one that's
sized about right there. So let's just
duplicate the group for our new smaller button. Then we can just drag
up the duplication to the one above and we're
gonna be good there. Hopefully they should
look about right? Let's have a little
beautiful and let us do this one more time for the even smaller switch
towards the top. If we hold down Shift while
we've got this selected, we can actually copy that
layer right off the bat. We can just hold shift, drag it up and copy up there. And then again, we can
resize that one to fit that smallest
switch as well. Then we've got all the
fundamentals there. If we wanted to tweak it, change its color or change
its appearance to maybe give it more of a switch
rather than button look. But we've got all the elements that are already built
in, have a look. So let's hit Command
0 to zoom out, and it looks pretty good. It's absolutely convincing now. I think what we need to probably look at creating is the notch because that's become a bit of an iconic design of the iPhone. So let's have a
look at popping in, and we're also
lacking the symmetry there seemed to be
really easy to create. We could do another
shape and round it off, or we've already created
the correct type of shape. So let's copy one of the
layers out from our buttons. We can just bring that
down on there and change the color to the match
the size of the device. And then put a little
circle in there, super easy to do. So there we go. We've just copied the
shape from our button. We just re-size that again. And we'll just look to apply the correct color with a bit of a gradient match to
get that edging That's apply a stroke tool
to that shape. And that's gonna
give us that nice outline of the symmetry. Find it useful here to turn off your layer so you can see
that outline and it's not being exacerbated
essentially a via the template
that we're using. Now that would do fine. But if we open up our reference here and
we zoom in a little bit, we can see that it's got a
little bit more fine detail. It's like embossed kinda look because it's a separate piece of metal that's inserted, right? The black hole is actually
sort of assimilate it whole. Let's look at how we
could do that as well. If you've wanted to go down
that extra bit of detail. But the layer selected, we can choose our Effects
menu from the bottom here. We've got bevel and emboss, and we can use
that on our layer. It's a little bit
like the stroke, but it gives a purpose
perspective and it does a lot of the extra
work for us as an effect. We have a look at what
the different options do. They'll give us a
slightly different flavor of what we want it to do. Whether it be erased, opposite, kind of slipped down
ever so slightly. Do we want this really
kind of dipped, kind of look like this and tweak it to how you
want to use it. Honestly, just really subtle because once we
zoomed right out, it just keeps that
impression of it just being a little
bit embedded, almost an imperfection,
but also a design choice. I think we'll settle with that. That looks quite nice. The next thing to look
at is we're going to add the hole for the similar pin to go into to pop
that Semantria. And we're actually going to
have to draw something again. I think it makes sure we're on the right layer and we'll grab our ellipse tool and draw ourselves in a little
circle just here. We'll just give that a fill
color of black for now. Alright, let's zoom
ourselves in a little bit. We're going to add some extra details onto this
to make sure it's got that depth and
perspective like before. I'll little circle we just made, we'll duplicate that
command J again. What we'll do this time instead of kind of the shape
out from one another, we'll use the clipping
mask technique. What we need to do is make one layer lighter than the other or we can do our
red and green if you're struggling with
seeing how it is, should be relatively easy. Now when we drag the top
on into the next layer, that's going to help us
create that clipping mask. You can see it represented
in the display itself. It shows it turned into
that gray color right? Now we've got those
layered in for some reason our color
snapped back to black. I'm not sure why, so we've just make sure that's gray again. It says it's gray but it's not
displaying it in the site. Don't know if that's a bug, strange that we
think are happening. We just need to now
move that bottom layer ever so slightly off to
the right look and that's given us that kind of gray
curvature in that bit of depth in the sim pinhole there. Alright, let's tackle
that iconic and well, now iconic notch in the display. Now we could take that top layer and cut
out and intersect it. But as it's all one seamless colored that
blends in with the bezel edge. I think we'll just draw a
shape on the top layer. And then we'll just
adjust it using our cursor that we have before to get the
perspective right, just using our
reference guide there so we can just line up
the edges and a beat, really quite easy to do. You need to see the black edges, so bring the opacity
down a little bit. Look, It's just nice and easy
for us to line up there. Remember the templates just
there as a guide for you. If you want to
break out of this, you absolutely can just know that if you
were to say line up the bottom line on the
bezel notch there, you can have this
notch be any size. It could be a tiny little bump, you could stretch it
right across the top of the device and the perspective
would remain correct. It's just a useful
thing to have in there just to save you time rather than having to make your
own perspective and guidelines for absolutely
everything is just in there. Quick, easy reference for you. We'll just set that to black
and that is our notch done. Now, we zoom in a little bit, have a look at our reference. There's a little
camera array and microphone setup in the notch. At the moment, just because we're so used to
seeing these devices, it's obvious there's
nothing there. Now we've already built some great camera lens options
that we can still tweak. What we'll do. We'll go into our
group and we'll find the curvatures and bits for
one of the camera lenses. And we'll just look
at bringing that over a resizing it to
fit in that space. Look nice and easy for us to do. And it saves us the work
of rebuilding and cutting all those layers and getting the colors and tonality correct. Again, just reuse what
we've already got. Then we can tweak
our gradients to adjust the lighting,
size, and color. Here we go, we're
getting really, really close now it's
looking like a great design. What we definitely need to
do is put an image now on the display and we can
use any image we like. And in the next video, that's what we're going
to look at doing.
16. Reflections And Background: Let us give our second device
and nice and background. And to create the
finishing touches, give a nice reflection
to the devices as well. Any image you like
as your background. If you need a background
image checkout, Pixabay, Pexels, both great
options for free ones. To insert it. We're gonna go to
File and then Place. Then we need to choose the image location
on our hard drive, I find it easy to put things
on the desktop personally, Mike has its own
file system here and he's going to use a
background that he created. Now let's select
roughly the layer we want it to go on to the
great gradient here, and we just click and
drag to drop it on. If we have snap-on, we might get snapping to some of our guidance lines like that. We've got to get it over
in the correct position and then we'll use
our clipping mask so we'll bring it
down onto itself. So it clips with itself. That's pretty much
it done for us. We can change the
perspective of it if we like, and move it around. As you can see, that it's
pretty much just done the job right off the bat for
us there in our layers, Let's condense everything down. So we've just got the two
devices and we're going to create our nice
quality drop shadow here. Once we've done
that, we're gonna select the two and we want to basically make a
duplication of them together. And then we're going
to bundle those two together as well. Once we've got those,
we'll just put them on the bottom layer. Now while that selected,
we can just simply drag the top right
the way down to the bottom until we've got roughly the right
look and shape. The way you can do this without the sizing issues
is right-click, go down to transform
and then choose Flip Vertical and it'll give
you an exact vertical copy. And you can just drag them
down and match them like so. If you remember all the
way at the start of this, about an hour and a half
to two hours ago where he used the transparency
option in our gradient. Well, There's also a tool
called transparency, which lets us do
a similar thing. If we just drag it over
our newly inverted image. We can now use these two handles to give a transparency effect. And that's the way
we're going to simulate that reflection by having it a nice hard edge just on
where it starts to reflect. Then using that
transparency slider to just fade out ever so slightly. If we just zoom back in
fully here. Here we go. We've got our completely
rendered devices with their nice reflection. We can give the whole
image of finished feel. We've just drag a shape across the background and perhaps
give that its own gradient. If we use colors that match similarly to what's
already being seen, then it's going to give
pretty nice effect. I think here if we
do a nice gradient fade right to the point
of the reflection, that's going to look quite nice. Then we'll create
another one as well to go behind our
reflection layer, instead of just having
that hard gray edge, we'll have a nice fade off that matches the fade off of
the reflection as well. It should give a nice continuity
to the image that way. Just like so. Just a quick note here. I did move the image a little
too far over to the left. There is a little bit of a gray up in the top right-hand corner, but that's gonna be
fixed in your version of the project by very simply just moving the image
over to the right. It, Let's give
unless a drop shadow to our renders now to give it a kind of fitting of realism and quality sitting
in its place. From here, it's
completely down to you. I would love you to go a
little bit more in depth with the camera lenses and
make them so they're all individual like
in the reference, we can change our lighting
angles and get a feeling of different light where
he'd even maybe look at changing
the color of light. Or we look forward to
seeing your renders, please do share them
in the projects. And I'd love any feedback
you'd have in there as well. Thank you very much
for taking the course. I look forward to seeing you in another one
in the future. Take care.
Warrior Sound Media, Apple & Adobe Certified Trainers
