Creative Typography and Abstract Swirl Concept Art

1. Introduction: hi and welcome to this class on creating fun abstract three D art in Adobe Illustrator and Photoshopped. I remember when I first learned to create art like this, and it really brought my graphic design to a new level, and people were a lot more impressed with this type of artwork that I would create for poster design or different product packaging. In this course, all be going with you, step by step to sketching out your artwork and bringing it into it'll be illustrator and photo shop. I'll show you how to create shapes, using the pen tool and other tools and illustrator to get the perfect concepts that you want to portray. I will then show you how to bring your artwork into photo shop and then, using digital painting techniques and brushing, I will show you how to add depth and shadows and highlights to your work to really bring in a three D depth to it. I love creating this type of art, and you can use it in product packaging concept are fun poster art or a variety of different things. I'm excited to go along with you in this class and see some of your projects so heavy and roll button and let's get started 2. Creating The Concept Sketches: so to get started, I like to sketch out a general basic idea of what I'm gonna be doing. Just that I have a good starting point when I get into Adobe Illustrator and Photoshopped. This isn't somebody have to do. And so you could skip this video if you want to, but this is gonna be a general idea of what? I'm gonna get started. So I'm gonna sketch out Just the general are our board area, and I'm gonna have this look like a packaging design for, like, ice cream or milk or something like that. So I'm gonna have, like, a big move on it, Say it's gonna be like an advertisement or something. So that's at, uh um and it's been this out a little bit more. And so I've got my text and I'm gonna try to draw some big you know, ice cream or swirly looking shapes around this. Take this fund design. So let's have the top of the M. It's stand into this area. And like I said, I'm just trying to get a general idea of some different shapes to make this look a little bit more organic, and I want to integrate the text into the shapes. So it looks more like it's part of the illustration and of this amount here. And don't be afraid to add some some really big shapes. Some mind, even cover up the text a little bit. Just wanted to look really flowing and and have a good feel to it. Some guests give this next part up a little bit so you can see what I'm doing now. Since they wanted to have more of a milky and flowy feel, I'm gonna add some big droplet kind of shapes. T have a little more fun with a like this. - So now that I'm to this point, you can see that there's all these different shapes and they all look like they're kind of flowing together. And all these these big droplets you can see I have here would have done is I've gone through some of the edges, right have here NF I've just drawn and coming out of those edges just like this, for example You can see this edge I do around here and then I just added that coming in so it looks like it's flowing into the shapes and So that's something that you can keep in mind when you're drawing some of your different swirls or shapes. Air coming out of it is is you can have those flowing into different corners and crevices to make it look a little more integrated into your design. And so it's not perfect. But at least now I have a good starting point and know the direction that I want to go. Once I put this into Photoshopped, an illustrator. So now what I'm gonna do is grab my phone or you can get a scanner, and I'm just going to take a picture of this real quickly for reference, and then I'm gonna throw it an illustrator. We'll get started in the next video. 3. Adding Shapes and Concept into Illustrator: So there's two ways to create this artwork. They both are getting this photo show. But one way is illustrator, and the other way is just gonna stay in photo shop with everything and there's a few advantages to each and disadvantages teach. And so I'll just show you the in the sectorial both ways so that you can decide what's gonna work best for your project. So what I'm gonna do is starting illustrator for this and grab the sketch that I did for the concept. So I'm gonna copy that and then put it back in. Illustrator to use is my reference. So I'm just gonna scale it down a little bit and like it's ended in the periods video, this is just gonna be a rough idea on So you What you can do is use the pen tool or however you want, and actually go go through and hand, draw everything your type, or you can use just some fund. And I actually have a fund that I based this type around, um, say again soft. And so I'm just gonna type it out so that I already have it right here. And so I'll center this in the our board where I like it, That's looks about good. And then I'll hit shift, and then control or command. Oh, and that's gonna create these outlines so that I can more easily work with us. Now, one of the other things that's gonna be important is having a good color palette. And so what I like to do is go to, uh, adobe color. So color adobe dot com. And, uh, they've got really good color picker. This is a similar to the one in illustrator for this I'm just going to go to explore and I'm just gonna find a color scheme that I already like. And so, for my theme, I'm thinking I'm going to go for a kind of chocolate look. And so let's see what comes up when I type in chocolate. And so these air some fun looking colors, I kind of like having a little bit of blue in there. So I'm just gonna save this, and then it's gonna go straight into my library. And so I'm gonna create new library. Call it new. So once we have all these in now I'm gonna save, and there it is So I'm gonna go back into Adobe Illustrator and I want to pull out my library panel, so go to window and then libraries and there's gonna pull up all my libraries, so I'll go to library and here's my mu library. And I seen people who have had problems with us in the past that it doesn't sink with their libraries. And so you just want to make sure that your libraries are up to date. You may have Teoh click on one of these icons and make sure that it has update set to sinking, and then in here is your color palette. And so I'm going to, right, Click that and say, add two swatches. And now here I have all these colors added to my swatch panel. And so for this, I want the main mood text to be kind of a white, and so I'm gonna add it to that color, and it may be kind of hard to see, So because of that will just make it blue for now. And then I'm going to start drawing some of the shapes from the concept Sketch did it. And so right here, I'm gonna add this M stretching out into all these different shapes were here so hippie for my pen tool, and I'll click up at the top of them. And you want to make sure that the anchor point is snapping right here. And so I'm gonna make sure that snaps to the anchor point and I use ah, control or command space. I hold those down for the scrub, you zoom and illustrated because it makes it a little bit easier. And I'll click up here and then I'll hold down option or Alter and I can move anchor point around and shift to constrain it. And then I'll click through down here, you know the bottom and then bring it around. And if it gets hard to see because illustrator fills in the shape automatically will hit Shift X, and then it will just switch it to outline on that and oh, click up around here and man back to the M. Make sure it snaps and connected right there. I like that right there. So I'm gonna hit option or all to drive the sinker point around again and then close the path and then I'll hit shift X again to fill that shape back in. And now right here, it doesn't connect all the way. Sole. Use my drug selection tool by hitting a and then I'll click on this path right here. And I'll just drag that down and then click on this anchor point and drag it up a little bit so that it's a little more seamless of that. And now, to make sure this isn't too wonky right here, I'll grab that anchor point and I'll just drag this up a little bit. And I actually like that because adds a little bit more floor right there. And I've got this drop right here that I'm gonna drawing, so I'll do the same thing. The P for the pencil. I'll start right here and I'm gonna drag around and I don't care about overlapping shapes. So right here and there on a ship X. Make sure I can see what I'm doing and drag around here. And then when I want to close the path to make sure that stays of this shape all hit option or all first and then I'm gonna click and hold and then I can drag the anchor point around where I want. And so I'm gonna close it right there. And then I use a direct selection tool and just adjust things a little bit. Make sure that it's nice and smooth, and that looks pretty good. And then, uh, hit shift X again. And I'm just gonna make this a different color so you can see it. And I'm gonna just a few things this year in a little bit more. So that's looking really good. And I'll just go through this and do the same thing with some of these other shapes. Go to Theo, drive around, option, then click and drag. And then, you know, connect that right here to make sure that it looks like it's part of the O. And he's my direct selection tool and adjust half just a little bit. And now you can see right here. Some of these has may not be totally connected, and so I just want to go through and make sure those air all snapped to the shapes. Because when I export this on, bring in a photo shop. We don't want any problems with shapes not connecting. And one thing that's gonna help with a lot of you probably is filling in the background first, because that could be one of the hardest things to figure out once you've gotten to a certain point. And so what you can do is just that your pen tool and then just click around and then just fill in some large background shapes, and that's little bit too far. So I'm gonna You're not back down a little bit. Put her here and now I want some That's tobacco hit shift command and Left bracket or shift control and Left Bracket. And then I'm gonna change the color and you can see it's in the background. And so I'm just gonna fill in a few of these shapes in the background just so that everything's covered and I don't have to worry about it as much later and equipment here and she's command left brackets and back to the back, and I'll pull up in my color panel and you can have this expand and collapse. But until you see these controls and I like to use hue saturation brightness mode so that I can change, things will be easier. That's what I prefer. And so now we're getting a lot more filled in. And I'm gonna hit the M for my shape tool and just drag a box right here so I can fill in the rest of this pretty easily. And then should men left brackets and that to the back, and I'm gonna use another shade of brown. Maybe a little more saturation in there. And now that I have the whole thing, Phil, then I can actually make the move and some things other shapes white like, originally wanted to. And you can start singing what it's gonna look like. And so now this is really starting to take some shape. I'm gonna add some more swirls right here. Well, droplet of milk coming off of their hold on option to bring out that anchor point, I use my direct selection tool. Let's say this is covering that a little bit too much some and drag it over here anime and go in, zoom in a little bit more and make sure that that looks like it's connecting right to that . Oh, because what we're gonna do is add some shadows later, so that looks like it's in front of the and it's coming coming off of it. So you drive that and a little bit more right there. Let's just make this a little different shades of color just so that I can see where it is . And I'm not too worried about it because I'm gonna mess with all these colors later anyway . And so now I have this big shape coming off of here that I want to cover up some of that Oh , with Teoh. Add some fun drama kind of effect so well, quicker out of here and drag that down and have it going up right there. Option, drive the anchor point over here. Great there and then add a big line right here. And I'm not too worried about being super accurate because, like I said, I'm just going go on, move things around anyway. Good sinker playing and all that. And so that's a nice big stream of milk coming down right there. And one thing you're gonna want to look at is a contrast, because if I have too much of this white, then it's gonna be harder to see that text. And so I've got some blue in my color palette, so maybe I want to make this shape blue, and then I can add some. Why shapes coming off of that right here. Now that I have this shit done, I'm going to adjust it a little bit and that when I can make white, because it's not gonna be so much that it's gonna overpower the text in the middle. And so now the rest of this, I'm going to speak through a little bit faster. We'll add a little bit around hair and another trick I like to use if I'm creating some shapes just like this shape I have right here and I want it behind certain shapes. But in front of others to control that I can just hit control or command X, And then I can look for the shapes that I want it in front of and behind. So, for example, I can see all these shapes right here are in front of that big brown block, and I want that shape I just made to be in between those and soldiers hit that brown block . And then if you go toe edit, you can have paced in front. And now it's gonna pace that shape in front of the block I had selected, but behind everything else that's in front of that block and I'll change that Teoh different color blue and I'll adjust the shape a little bit. And now some of these other shapes of here I'm gonna go at in, and that ends right there and same thing, Control X and I want us to be in front of all these Brennan shapes, and so this is in front of that. And so they hit control F, and now it's behind that blue. But now, since it's looking like it wants to go all the way through this, I'm just going to extend it down around here with another ship. So that's one of the advantages of starting this an illustrator is. It's really easy to work with, and I have a lot of tools that can control what I'm doing. So hey, control X and then I want that at the same level is this? So I'll click on this and then hit control F, and now it's about just right there, although I've got this other brown shape that's in front of that because you can see where is showing up right there. So I'm just gonna grab that shape and hit control and then left Bracket, and it's got to send that back. Just one object. And so I'm getting really close. Now I can see this. There's this big blob that's getting, ah kind of in the way with some of these tangents. So I'm gonna change the color on these just slightly and make a little bit brighter, and I'm gonna hit my rotate total are for the rotate tool, and I'm gonna click on the base of that And I'm just going to rotate a slightly just so that's not causing any funny tangents in these areas, and it's still doing it just a little bit. So I'm gonna move it up there now looks a little bit better, and I want a few drops right here. And so I'm just gonna hit control C and then shift control or command V, and I'll click on that and Hit asked for my scale tool click on the bottom of here and I'll just scale that down a little bit. And I'm not gonna hold shift cause I don't care so much about being proportional because I want to look a little bit different than that. And so I kind of like that and make let's make this chocolate and so on. And I think this is getting really close. I'm just gonna have one more shape right up here behind there. Is that a different color of blue? And though it's good and I'm gonna hit control X and I just want place it right behind that , we watch it to do that, I can have object and then or edit and then paste in back. And that's just gonna pay Sit behind the object that I have. Um, one problem right here is I've got that shape in front and so there's nothing I need behind this are in front of this. And so I'm just gonna had shift control, right bracket, and that's gonna send it to the front. Now click on this and I want this just to be a different shade of blue right there. So click it there and I'll go to my hue saturation bar. And then I was skimming without a little bit and let's make that a little bit darker, and I want this to have a lot more seamless transition with this other shape. Something is my direct selection tool. And I'm just gonna drag this right so that it's connected with that one, and then I'm gonna pull it up. And so now I have this little tangent in the way right there, so I'm just gonna move it up a little bit. So it's not causing any problems over there. And so I think this looks good. And now I'll show you how to prep it. Teoh, bring into Photoshopped. 4. Preparing Artwork for Photoshop: I'm going to delete this reference there I have, and I'm going to grab all these layers and make sure you can see what's going on. I'm going to click on my later in my layers panel and I'll go onto this little menu for the panel and I'll click on release two layers as a sequence. And now what it's gonna do is separate all these layers onto their own individual layer. And so I'll click on all of these and all drag those out of that main layer and then I'll click on that original layer layer one. I'll hit delete because there's nothing in it and I'm just gonna make sure there is something in all of these layers and everything looks good. I'll go down to file and then to export export as, and I'll go to file that I want, and I'm gonna save it as a further shop. New. It's worlds. Oh, I want to make sure I'm using the our boards because that's gonna crop it to the area that I have on my are bored. I have this crop, so I have any shapes coming off. But if you do have shapes coming off. You're gonna want to make sure you have art board selected cereal crop any extra image off , and then I'll had export. And I want to make sure it's an RGB and will have, Ah, high resolution. You wanna have it set to write layers and you are unchecked maximum at a edit ability and then hit. Okay. And now in the next video, I'll show you how to open it up and Photoshopped. 5. Importing to Photoshop: Okay, so now you're ready to open up that file And Photoshopped, Let's head open and click on the first shot foul we created and that had opened. And now we have the same artwork that we exported from Adobe Illustrator. If you did it right, you should have all these layers separated and the layers panel as their own individual layers. And this one's group song has shift command G and on group that and in fact, that's my main text layer. So I'm just gonna name that no text. And now what I like to have is my auto select and show transform controls a check so that I can easily select different layers. And I can see the transformation controls on those. And I like to have later select because that means it's gonna select each layer individually. And so now that I'm at this point, I want to select this mood text and these other two layers and let's see where they're at their in different areas. And so I'm gonna drag this layer that's clear up on the top, and I'm gonna drag it down to those other layers, so I'm gonna drag it down here, but now you can see and moved up underneath that other blue layer. And so what I can do is I can click on this layer and hit control or command, and then all select that layer, this Lexa trans transparency of that layer. And then I'm going to click on this blue shape that I want to look like it's behind that and then I'll find where the blue shape is, and then I'll just click on this little mask tool hit all our option, and then I'll click on that. And that's going to remove everything that I have selected from that later. But the nice thing about this is if I hold shift and click on the mask, it's still there. So I still can use that if I need. And now that these layers are all touching each other right here, I can hit control or command E, and that's gonna merge them all together because I want these all to be connected so that when I'm brushing it in, it's going to be a lot easier, and that looks good for everything else. One thing that I want to make sure I also do is going to my image and then change the mode to 16 bit. And that's gonna make it so that while you're brushing in some of the different shading and colors on this, um, there's not gonna be banding. Sometimes you'll notice if you're in a bit when you're using the brush tool or painting. You'll see this, uh, great and banding that's gonna cause lines and distortions in your artwork. So having it on 16 bit is good for while you're working on it and then you can change it back to a bit later. And so we're looking good right here. I just remember I have these two shapes left that I mean to move over a little bit because of those tendons right there on the him. And then I'll hit Control E and make sure those air merged together. And that's everything you need for getting this prepped to start painting. And so in the next video, I'm going to show you how to start adding some of the different shadows and highlights to really make this our work of a standout 6. Adding Shading and Depth to the Illustration: Okay, so now for the fun part, I'm going Teoh, find some shapes that I want to start adding. Ah, some depth to first. I like to start with a background and work my way up, so I'm gonna start the background. I'll add a new layer right here on top of it and then hold option or all, and then click so that it's going to create a clipping mask on top of that bottom shape. And then I'll have this shape right here, and I'll click on the blend mode and go from normal to multiply. And this just organizes my layers so that I can have a lot more control over what's going on. And so now I'll have beef with brush tool here and all right, click and then scale it up and make sure the hardness is a zero. And what I also like to do on Ah, hey, see, you can have option and then right click and drag back and forth and sideways is going to change the size and up and down. This can change the hardness, and you can see right here there's a little red preview of what it's gonna look like if I had zero, that's going to change my capacity. One is 10 five or six. A 60% 0 is gonna be 100%. And now you can see that preview a little bit better. And on our Mac, the shortcut is control, option and left, click and drag back and forth. So now that I have my color selected, I'm on a dark color and I'm going to start at, like, 30%. And I'm going to start brushing in where I want some shadows, and that's looking a little bit too dark right now. So I'm gonna hit controls, ear Command Z, and I'm gonna go down to 10% and, uh, zoom in a bit and then just add that in right here a little bit, just where it looks like there's a shadow behind that shape, and I'm gonna add a little bit behind Mary, and I'm gonna add some over here and start adding shadows just slightly where it's gonna bring in a little bit of death, and that's a little bit too dark now. And I can make this a little bit larger and just suddenly put in some chef is right there. And so that's what can get for men at. And now I'll add another layer on top of that and then had options are all and then click create, not equipping mask and then change that blend mode to screen enter. And now I'll use my brush tool again. And then I'll hit X to make sure it's on white. And then I'll go in and add some white highlights, and that's looking a little bit too right right there. And so I'll hit Control Z. And then I'll send my a passivity down to say like, three person. And that's already looking a little bit better right here. And let's add some highlights over here. So we're in there and has a sharper edges, and now that's already certainly look pretty good right here. And what I can do to smooth everything out is I can select my layer right here, that a filter and then blur, and then just Goshen blur. And then if I blur that out, it's gonna smooth it even more. And right now I'm just trying to get some base colors down as a starting point for adding some depth to this, so I'll click on the shadows. And then, instead of going Teoh Goshen, blur every time. I can just use my most recent filter with a short cut. A gives you right here, so that's control left. So I'll just hit control F, and it's automatically gonna blur that layer. And so now that I'm ready to start on my next layer, I'll just click that layer. And what I've done is created an action, so I don't have Teoh keep on creating new layers and masking them to that bottom layer. I can go into my actions panel, and if you go to the description for the course, I have a link to this action where you can download it. And if you want toe load, the action and I have to go to is the menu up in the panel and had load actions and then select the file. And once you're ready, you just click on the layer that you want and then click on the action in it play, and then it automatically creates these two layers and as the correct blending mode. And so now I can just click on the bottom layer and use my brush tool and make sure it's on black and start brushing in some shadows. I'm gonna make this 10%. I was gonna brush those and a little bit better. And as some shadow down here, a little bit more writer in there. Now all I'm doing is making the illusion that there's depth with these layers. And so I have this brown layers of my bottom layer. This one is just slightly above that, and so these layers air on top of that. Once I'm just adding some more shadows and highlights Teoh, where these layers or creating shadows on these and it looks good. I'll hit control or command f explore that a little bit. And this your most recent blurring didn't go enough. Then I can just go back in and blur it to something that I want to pick manually, and that was a little better right there. And now I'll go into the highlight layer and I'll add some highlights. Go to 3% if there that's a mile experience here and let's make this on a little bit brighter. So I have a decent highlight right there, and we want good highlighting and let's make it look like this chocolate right here is coming outside of that is coming through that. Oh, so to do that, you just add a little reflection on top of it. And now let's just blur this layer right here. Now smooth out those reflections a little bit. And now those look really nice right there and actually got a little more detailed I can go into here and then I'll just add another new layer, pull down option or all. Make sure that I clipped that to there. And then I'm gonna use my pen tool hit p with pencil in here. And now I can start being a little more accurate about where I want to add some of these reflections. So I'm gonna click right in here, and then I'm gonna add a reflection right around this area. And then this work similar to illustrator I can hold down all the option and then dragged the sinker point around and then dr right around here like that, and then hold down all their options first. And then I can adjust where you want that last thinker point, and that looks pretty good. And so click on that layer that I want to use as a reflection line right there and then all hit control or command. And then I'll hit the clipping mask and that's going to create a mask for the vector layer from that path onto this layer. And that's really nice, because then I can control the mask later. And this is a technical use, uh, to create this hard work from scratch if I didn't want to use illustrated. And so I've got that right there. I'm gonna click on the layer and then hit my breast tool and then make sure I'm on white and then all of just brushing a little bit of reflection us right there. And maybe that's a little bit too much, uh, drag the capacity. And then, if I have this selected, if I have my properties panel up, you can goto window and properties. That's gonna let you as long as this is selected, change the feathering and the some of the settings on the mask, and so if I want a feather that mask out a little bit, then it starts at a little bit more depth. And so I'm gonna do that a few more times with the same layer in areas, I think there would be a reflection. So this I'm imagining a reflection of the O where that line scoops up right there. And so that's gonna be this little fake reflection right there. And I could just do that again right here at another layer. And you can just keep going doing this as much as you want. You don't want to go overboard. But what I found is having a good amount of detail gets it to look really realistic. And one way you can do that a little bit easier is adding multiple masks at the same time. Will multiple shapes with a pen tool? So I'll hit my pen tool, and I'm gonna add some right over here in an option on drag that down here and call a good right there. And since it's behind these, I'm not gonna worry about being accurate right there and hold on option before I click on that last stop movement just over here. And like I said, I can add multiple shapes at once for the same layer, so I don't have to do it. Too many times. So now make sure this is like to combine shapes and I'll click over here and add another one just right there. And this is again where you just a little speculative highlight? I'm gonna add it there, and I can some other highlights just around here and click off of that. And I have these three shapes that are all seen as being the same shape. So I go in here to this mask, will hit control and mask. And now these All these shapes were here are all in that mask. And so I'll click on the layer, my brush tool and start brushing in No, that's too much. So I'll go 4% right here. Capacity on Russian, Just a little bit right there. And no one has Cem reflection right there. And this on comes up just over here. So let's say I want a little brighter over there and a little bit less right there. And so now you can see how this starts to bring a lot more depth into this illustration from some of a sharp lines. And so I click on the mask right here, and I'll just feather those older and I may go a little bit more feathered on those, so they're not quite as hard of lines. And now this is that's starting to look really chocolatey and really get. And now one of the last things that I like to do is add some really bright highlights just around some I just to make it pop a little bit more. So I'm gonna go back down to my highlight layer the original high lately, and then I'll have brush tool again. And then all said this it like 20%. And then I'm just gonna had some really bright highlights just on these edges, and it's gonna set it apart from everything else really nicely and especially right over here. Yeah, I'm brushed that. And so now you can see this a big piece of chocolate where if I take all these layers and hide them, but I'm checking the little eyeball icon, Then you can see how much of a difference all those different layers made. And so all started going a little bit faster with these next layers, I'll click on that next layer, go to my action, add shadows and highlights, and go to my shadow layer and start brushing in some shadows. And although someone right here and let's say I just want to create a little shadow lion, random middle right there and that's a mother shadows right here. I'll go to Filter. I'll just blur that layer. And I might do that one more time and even says that a little bit. I'll go to my highlight, layer the brush tool and then start adding some highlights. Make sure it's at 4% and this will be a real big highlight here and the sharper we want the edge. I can just make my brush a little bit smaller and show that it right there and then where that and that looks pretty good. And in fact, I'm gambler it one more time. And now, at some reflections on this, add a layer. Let that to the previous layers is my pen tool and start adding some highlights, and one thing you can do while you're messing with these passes, hold down control, and then while you're creating them, you can move things around. If you mess up so quick that and come back here and gun control and mask that and then brush in the highlight right here. And I think that's looking good enough for now. So I'm going to click into my next shape right here, go to my actions, play the action and start adding some shadows and highlights were quickly. I'll go to the side and Russian, some shadows. We're here, and since this is a little bit higher up, you can see all my different layers. This is one of the layers closest to the top, and so I'm not add my shadows more on the top of it than on the sides because, as you can see with this layer on the chocolate side on the bottom, there's those highlights to the side, and that makes it look like it's further in front. And so that's what I'm gonna do with this blue shape right here also, and for doing a project like this, one thing that's gonna help is having a tablet like if you have a walk on tablet, where are not pro, you can use it as a stylist tablet to control the computer, and that's going to make it a lot easier, adding some of these different shapes. So add in a couple more shadows right here. And one were just okay. Oh, sure, you blue that layer And my highlights. Um, you had some really bright highlights right up here. I'm gonna add a little bit of back light right here on the sides of this, and then I'll blur that layer out. But not to worry, just And those, let's And then I'll go to the sides and add the really brave highlights. And then I'll go over here, make sure you get that nice and great. Now you don't want to go too overboard on these highlights. You want just enough so that it's got a little bit of dimension to it, and so you can see that it's looking good. But I need Teoh blur out some of these other shapes more. Something to go blur now looks a little bit better on those other highlights. Same thing with the next shape. Just click on it. And at some shadows here, we're gonna make that a little bit darker over there. And the more shading you put in these, the better. It's gonna look because it's gonna be less flat, and it's gonna have a little bit more dimension. So start adding some highlights. Now this and a nice over here and and no bore these layers. And I don't want to do that too much. We're going to the top layer and over that, and I'm just roughing in these shapes right now. Teoh, get an idea of where I'm at real quick with the depth on this whole project. And so before I add the is a more detailed highlights, I'm just going to try to get an overall feel of a depth of this project. So now I'm on the the text and make sure that's black. Well, and this, you know, hair this I'm gonna want to zoom in a little bit more some of these shadows around the edges. Now, if you don't have text in your project, you're not gonna have to worry about this. But if you dio your I just want to make sure you go in and build a more detailed about the edges. Eso that is gonna have that good feel. And this has got that shot over there where there's a big droplet in Eire and its shadow over here, too. And now, with some of these lighter shapes. You can see the shadows are starting to to get a little bit muddy because they're black. But a real shadow on a color like this wouldn't be black. It would be more of a darker brown color. And so what I can do is right now, Um, I can click on that layer and go into image and then adjustments and then change the hue and saturation on it. And then, if I had colorized, then I can change the color of Simoes Dark areas. Aiken. Bring out the little bit of lightness and then change that to more of a brown color. And so that's that's looking pretty good right there. And that really brings in a lot more realism when the colors are correct and that's the same with these blue layers. I can go in to that shadow layer and then go under image adjustments, he and saturation. And then I'll just color eyes that and make it more of a blue color. And so that's going to really improve some of the look for the shapes. And so now I'll go back into this layer and go to my highlight later and hit the breast tool, and I want some highlights. And since this is already a pretty light layer, I'm gonna change my capacity of the 20% on the white right here I'm playing with and that's gonna bring out a little bit more of the highlights on That's a little faster and then I'll blur that layer. Hanno, blur the Schuttler and we only have a few more layers that we need. I got this blue droplet right here a lot of the depth layers and then add some shadows on here. And when you're under shadows, just think about where the shadows would be. So I'm imagining some fake light right in the middle of here. And so I'm going to try to keep the shadows on the outsides. So right here there's a shadow on that side and highlight. And you don't even have to be very accurate with this because since you're blurring it out , it's gonna fix a lot of those problems. Click the shadow layer, but a filter and where The shadow And now, right here, I'm gonna go back into the highlight layer and I'll add some of the sharp highlights on this one again, like it didn't send the other shapes. I'm gonna try to keep it on this side because that's where most of that's coming from. That highlight right here. And that's looking pretty good for that droplet Now, right here, I've got these two drops and they're causing a little bit of a problem because the color on this is making that look almost like a G from far back. And so I'm just going to click on that layer and then I'll go to my image. Adjustments, hue, saturation. And I could just change the color of that layer fairly easily like this and an alternative way that I really like better than that. If I'm changing the color for an entire layer like that is just going down here to this ill icon and then clicking a solid color and then just picking whatever color you want and then going to that layer, hold older option and then mask it to the layer underneath. And now I can easily double click in that color and pick whatever color you want. And so I'm just gonna add another tone of brown so that it looks like another layer of chocolate like a drop of chocolate right here and that layer. Their acts the same as any layer underneath that's clipped to the main shape layer. So if I just click on that layer, I can go back up to the action and then play that. And now it's gonna create two layers on top of that that all still clipped to the main shape layer, and these I can go in and start adding shadows and highlights again. So right here, I'll add some shadow right there, little bit more shadow right on top. And you know where that where and going to highlight layer and add some highlights. Let me go to 3% capacity. And on this I'm just gonna add a little highlight all the way around the shape, mostly on the topside. And then I mean blue that layer. And now I'll go back in and add my harder highlights. But I want to keep it on the inside of that so you get a 20% capacity rather than rant, and I'll do the same to this smaller layer right here. I like that color brown, so I go to the settings have the shadows or highlights again and start brushing them. But here is the shadow on the bottom and looking highly where X zoom in a little bit right here and 0333% capacity and resting a little bit of highlight up here and then go filter blur than we're that we're all of it. Same is layer underneath, make sure where that shadow and then go to my highlight layer again breast tool and have them those harder highlights. And now I'm on my last two layers, this layer underneath oh, going to hear had the shed on highlight layer. On top of it, click on a shadow air. And now that you already know how to add the shadow and highlight layers all speed through this real quick and start explaining the rest of it. And now let's say you wanted to change some of the colors of some of these layers. One of the problems is doing it using illustrator. One of the disadvantages to that is it's a little more difficult to change the colors of these. You can still do it as you remember. I change the color of that, and I can go into some of these other layers like this. This droplet right here and I'll have to do is click on the main drop of layer, go appear to solid color, and then I can make change that to pretty much whatever Hillary want. Now, where that can be a problem is over here. What? I added the brown on that that's gonna affect the way these colors interact with each other . And so you're either gonna have to go in and change the colors for those layers or make sure they're just black and white. So I'm gonna undo that because I like the blue where it waas. And in the next video, I'm gonna show you how to go through and do a bit more refining on this before it's finished. 7. Adding Final Touches and Glares: So now that I'm to this point, I'm just gonna go back and forth and look at the original image that I was working with. So I'll go up to my history panel. You can also go toe window history and you can go click on this camera. They'll create a snapshot of where you're at right now, and I'm gonna click on this. I kind of the top. That's going to show me where I started and so you can see how everything looks really flat . But then when I click on this, there's a whole lot more depth to everything. And so I'm gonna look it kind of what's going on right here. And it makes some decisions. I think that this droplet right here, it's it doesn't look like it has enough contrast of the background. So I'm gonna click on this blue a right here, and it's gonna select the highlights on top of it. Well, I'm gonna go to that shadow layer, and he is my brush tool, and I'm gonna brush in a little bit more shadow right there just so that I can see that droplet on top a little better. I'm also gonna do that right here with that M where it overlaps, right? They're not quick on this layer. So is that blue air and click on the shadow. And then all have the brush tool and or Russian a little bit more shadow on that. And that's gonna pushed up where refer their back into the background. And the last little problem area I'm saying, is this droplet right here? I need a little bit more shadow on that. Oh, so I'm gonna click on the Ole right here, make sure I have the right layer. It's actually the entire text layer. You click on the shadow and Russian Cem round on it. You have that right here. And now I'm just gonna blur that a little bit more. And I think this drop me. It's a little bit more of a highlight around this edge. So I'm gonna click on the highlight for that layer and use my highlight brush and had a little bit writer. Yeah, 20%. I'm and a little bit brighter right there. And what I can do if I want to blend these two layers right here, then I can just click on this bottom layer right here and hit the layer mask area. But I'm not gonna hold down control or anything. I'm just going Teoh. She'll right there and it's gonna leave it as it is. But now, if I click on that layer mask, I can have my brush tool to make sure it's black right there. And then I can just start hiding right where it connects right there and then that's gonna give it a little bit more of that illusion that it's connected and you can see where it connects up. Here. I'm gonna go in and brush that back with White, and I'm only erasing with black now this area that I want to look like it's blending. And so I got that. Now, though, it's really good, and it looks like it's blending together with that. Oh, really? Well, and I've mentioned this a little bit already, but and the beginning of the video I told you about how you can do this entire three thing Justin photo shop. It's with using the pen tool in creating those shape players is Aziz. We did before, so you can always make changes to this. What, while you're going. You never have Teoh stick with what you have. I can easily go in right now, and he's my pen tool and add some additional shapes that I feel fit with the artwork. So let's say I want to add another drop in right here coming off of this area whole control and on this point up here just a little bit. And then I'll click on that layer that point again and drag it down. And now this shape I didn't do very good. And so I can just use hit A for my direct selection tool, just like an illustrator. And I can go movies points around and fixed them so they look a little bit better days around here with that and straighten this out. I'm not too worried about these points over here because they're not on the campus. And so now I feel like that's looking pretty smooth, and it fits in with the rest of this, and so what I can do right here is click anywhere that I want. Since this looks like it's gonna be on top of everything, I'll just go to the very top of the document and then I'll click on here, and anything on top of a clipping mask is just gonna be created as a normal layer. And so if I go down here and I create a solid color, then it automatically creates a photo shop shape layer that I can go through and click on some color that I want. And I'm gonna have this more of a darker cream color like the other cream. And now I've got the shape layer that I can do the same thing as all the other layers. Always the action that add the highlight and shadow layer. I'll click on my Schuttler and brushing some shadows wrote like, you know, click on the highlight layer and hit accidental ad and some highlights, and I'll click on that. Larry hit control after command, Death and blue that later. Same thing with the shadow layer. And then I'll go back up to the highlight layer again and add some hard highlights. 20%. And now, with that new shape right there, we need to go back down to this layer and adds more shadows to bring some more contrast to that. So I've got that layer that I just clicked on, we'll click on the shadow layer and add some mild shadows right here. And if I have contrast problems of here, I can just add some more hard highlights on that other layer by clicking at going Teoh where and adding some highlights right here. And if I had created the entire project in Photoshopped just using those layers, I could go into each layer. Uh, if I clicked on the shape layer and use the direct selection, tool him a on the keyboard, and then I can go in and I can change this and adjust that shape anyway. They want I'm gonna hit, escape and under those two things, because I like the hell was and what I can also does double click that. And I can always change the color of any layer so I could make that green, just as we did with this other shape. I can always change the color of that. And so whether you want to start this in photo shop or illustrator, it's up to your preference. I prefer starting an illustrator and then when I need to add extra shapes like that later, adding them in photo shop but it's really up to you. So I'm just gonna change that back to a blue color to match the rest of our work. Now this is essentially done. But what you could dio is if you remember, when we added some of these reflections, Teoh add a little bit more realism. What you could do is go through each of these shapes one at a time and click on the bottom layer. And as we did with that at a new wear and you can go through and add reflections, hitting the pen tool and going through and adding some slight reflections to each one of these objects one at a time. And he's my direct selection tool and just that little bit no layer hit Controller command and then mask that. And then you can go through each of these layers and add in some highlights carve. You want, uh, to get the entire project to have these nice little reflections in them. And so that's it for this tutorial. I hope you really enjoy watching this, and I'm excited to see some of your projects in the project section