Illustrate Pro Product Mockups in Adobe Photoshop

1. Class Intro: Mockups are great, but it looks slick. They bring a design concepts to life and they make our portfolios look more professional. But mockup templates don't give you complete control of your work. What if you need a custom shape or a unique angle for your products? Hey, I'm paul a greater from South Africa. I've illustrated hundreds of mockups from quick concepts to professional renders. This is a skill I believe every designer can benefit from. I'd love to show you how this class you'll learn everything you need to know to plan, build an obdurate your own Pro Product Mockups from scratch, run inside of Photoshop. Unique mockups that are yours to use and use. Again, the only app you need to take this class is Photoshop. And any version from CS6 up to the latest EC will be, will be building on techniques taught in my tools of Digital Illustration class. A promise that explains the software tools and processes. So if you're new to Photoshop, you may want to check that out first. If you want to own how your designs are represented, both your work on products or packaging. Then this class was made for you. Let's go 2. Mockup Strategy: 3 Questions: Before we start our mockups, three questions we should ask ourselves. What kind of Mockup are we making? Conceptual, Referenced to? Realistic. Conceptual means creating a product that doesn't yet exist. These are usually to showcase an idea for our products, either to a client's, an investor or a production supplier. We wants to be able to illustrate these fairly quickly, especially since we might do a new one for every unique products and concepts. Referenced. Means based on a real sample. We'd spend a little more time on these, paying more attention to Realistic lighting and shading. Realistic in place of inexpensive photography shoots usually starts with a dieline and much more representative of exact shape and final layouts. What's the light source and camera angle? Is it less than a studio? Is it outside? It sitting on a surface or is it flat? Who will use it and how? If the final image is just for find or presentation, it doesn't really matter which software is used. If it's for principal advertising, the size, angle, and file's app, all critical to the final perceived quality of the products. Additionally, mockups made from templates and stock photos are not always possible to use and professional work for the global markets, the licensing and costs can become very complex, even prohibitive. Take a closer look at the next advertised products you see, you'd be surprised at how many are actually mockups? 3. Card Boxes - The Easy One!: Here's what we're going to learn to make in this lesson. It's a slim perfume box, a hero shots, no bottom of pack. Sharon means no shadows or reflections. So it's nice and simple. And the subtle three-quarter angle is going to really help sell the 3D effects. Let's make a new documents. I'm going 1920 by 1920, 150 DPR. We're not gonna worry about color at this point. So let's go over to our rectangle tool. You can also hit shortcut used to launch that. So let's drag a box down for our front panel and we'll go in and fine-tune that. 401,500 tall for the fill color, but we'll just go through the motion of setting up a new color. If you want to use the same when I'm using I'm using 113 13e, just a nice dark, sultry navy blue. I'm going to fill that. Alright, I'm going to name this front panel. I'll right-click and convert it to a smart objects. We're gonna do all our edits inside of the Smart Objects and transformations in the main part. So we can edit the contents and the Properties panel. But I like to double-click to edit I find it just gets, gets me there faster. Let's make a new layer above their heads, D for our default colors X to flip them. We're going to grab a gradients and just make sure we've got watts to transparents. Let's start about there and pull it down to around about there on this to be a real soft silky highlights. So I'm gonna leave it on normal, but I'm going to drop the opacity, It's or 25%. Next will go for the Noise, Add Noise, 20% noise with uniform distribution and make sure monochromatic is checked. Well, this is just giving us, is the feeling that this substrate is actually made of something known as the Lord had said. It's picking up some of the characteristics of the Card. These little surface textures. While we've still got the gradient settings, Let's drag an edge highlight just with us, the slot starts to peel off as the Mockups going to turn the corner onto the darker side, make a new layer and just drag very skinny little one like that. Let's leave it on normal as well and drop it to ten per cent. Now here's a little pro tip for you. We're going to be having a few highlights here, so let's call this main highlights. Let's make sure it's spelled correctly. And let's copy the word highlights. Let's go sad. Copy and paste. We're going to make one on top called copy and paste. The top highlighted. We're going to drag. Now that little short one down. This one's gonna be 20 per cent though. Let's bring in our box out for this good man pulled down already. So I'm going for hard bucks. Front panel is I'm going to tap if twice to get out of full-screen because I want to tear this off. I'm gonna hold shift as I drag so that it lands in the same spots. Alright, so we want this to look more like something that's been foiled on there. So let's go ahead and add some effects. I'm going to turn my layers palette out as promised. Let's go down to our effects panel here and go Bevel and Emboss. We're going with an inner bevel, smooth. Set the depth to 75. Make sure the direction is same as the light hitting it. Let's go with the size of seven, angle of one or six. Set the altitudes if 32. And for the gloss contour, rolling slope gloss and just make sure that's anti-elitist. See you once we had that Gloss Contour, we actually had to just change that to make the latter down as the console is going to influence what the latter is when it is. So let's make the highlights overlay because I wanted to be warmer than screen can give me. And we'll set that to 70%. The shadow mode, I'm gonna go with a linear burn at 30%. Let's add another effects. Let's go sets and let's set it to multiply at 20 per cent capacity will leave the angle at 90 degrees. The distance of 50. Size of at, you can see already starting to get something good. The assassins just giving me feeling that's falling here is reflecting some of the environments around us. And lastly, just a drop shadow. I definitely want to make sure that it's the same color that I used for the background. So I'm just going to sample it from there. And there it is, 11313. If you've used a different color for your background, just make sure your drop shadow is the same as that. It should just be a darker version of the base color. Let's say that's a multiply at 30, the angle should be one of six and I'll probably just pick up what the bevel and emboss is doing. We want the distance to be three, the size to be 35 per cent noise just to add what was going on over there. Let's save that and Command W, Control W If you're on Windows. And now we basically got our front panel. Let's go below that and make a new layer called sod panel again. So you go to our rectangle tool again, we remember that we had used to get that and we'll pull a nice skinny one down again, and we'll just fine tune that to 400 But 1,500 tool hit Enter. Choose the same full color at smart most recently used color on the left. I'll select both of these and just along the tops. And I get rotten and make sure that just butts up against it nicely. Now let's start working on the side panels. So we're going to convert that to a smart objects. Double-click to launch. If most of our highlights are happening on the front, most of our shadows is going to happen on the sides. So let's duplicate that. Set it to multiply ten per cent. You can see that's just very subtle there. Once you get the same top highlights on here. So I'm just gonna go back and launch the front panel again. Let us just pull that across, holding shifts or lands in the same place. The next item is to add the graphics. So let's choose hotbox side panel odds again, I'm going to tear that out Alt Shift as I drag it over, so it lands on the same place. Now I'm going to look for my front panel again. I'm gonna go to the text, right-click. Go to Copy Layer Style. Then paste layer style. We've inherited all the settings that we made on the first one. Let's save and close. Now we can begin doing our transformations. Let's group these and call that box. We'll start with the front panel. We're going to go Edit, Transform, Distort, pull the top lift points down by about nine degrees while holding Shift to make sure it doesn't jump out to the left or the rat. This also wants to be quite flat to match the perspective of the surface that is going to sit on. So I'm gonna drag the bottom right anchor points, just a ******. For the side panel, we're going to go Command T, That's control T on Windows obviously. And we're going to set the width 55. Let's make sure I just puts up nicely against that without hitting into, we're gonna go edit, transform and distorts, will pull the top right down holding shift. So about 26 degrees. Zoom in there. Just pull the bottom dance and match. Okay, and that's basically how box I'm just going to collapse that select both of those and just align them, get them nice and centered. And we can start working on an environment that kind of a blush nude rose gold if you want to call it that. So if you want to use the same color, that's if, if B, if a six. I'll just add that feel kinda the next thing I wanna do is put it on a surface. So I'm gonna make a new layer right above the box. Grab my rectangular marquee tool, drag just from the bottom of the Canvas 2D slightly overlapping the render full of the same color. Now I want this to be a little darker because it's closer to us. So I want to do the same trick again and duplicate that set. It's a multiplier and we'll just try 35 per cent. That looks great. I'm going to merge down. Did not tell you how to do this in the tools of digital illustration. So that's just commodity or Control E if you are on Windows. Now let's add a bit of noise to this just to get it to match the environments. Pull it up a bit so we can see what we're doing. Filter Noise. Anyone five per cent. Now, I'm going to leave the same settings as before and filter noise again. So those are both goddess is one more thing to do, which is to add a little bit of back, lots of this, a little bit of foreground, lots of the surface. So let's hit D for default colors X to flip them again, back to our gradient tool and we're going to make sure we've got water transparent. So let's start with a surface. We're going to drag and make, Create sorry, a new layer above that cold surface. Did we keep this highlights? Yes, we did. How great is that when you have V and paste that, you didn't have to type that out each time. The background. So below the box and below the surface halo, we want to put a new layer. I'm gonna change to a radial gradients. I'm going to start just below the surface on hold Shift. So I get a nice straight line and drag about halfway up the mockup, my nice backlight there. We'll call that background copy and paste. Let's go ahead and draw a little surface highlights. I'm going to go back to my linear gradients. Just drag about halfway up there. I'd like to sit that to screen. I think at about 60%. Folks, we're done. You've followed along. We have created our first Mockup. We didn't use exact dimensions. We didn't worry too much about exact scale, but it's enough to show a client what's going on with the design or it could look like. So congratulations, Let's move on to the next one. 4. Window Boxes - See The Product: In this lesson, we will build upon what we learned in COD boxes. It's creates a window box like this one. Will start playing with transparency to show off as much of the products and details as possible. It's worth referencing a real window box. Almost any kind of window box will do. They're found in many places, from toys to baked goods and sports accessories. All we need is some idea of the structure. Now the plastic windows reflects them while still showing the products inside. This is the number one thing I think lets a lot of product mock-ups done even from big brands. The Canvas year, this is 2520500 pixels at 300 DPI. A hidden open up the artwork for this lesson, you can get the same one from Tulsa section riding on Skillshare. We've got a we've got the packaging other as a PDF or a PSD is t. The front panel, top panel, and sod panel outs as they're in smart objects. As with the previous lesson, we will be doing all the edits within these smart objects themselves. The idea being that when we get our structure routes, we only have to do that once and we are not trying to get everything pixel perfect by doing different distorts of different layers and things. I'll show you what it means. So let's just tear that out. I'm going to pull all three into my new canvas. Let's scale them down ever so slightly. I think made-up toy brand. The class technique that we learning you could really use for anything. It could be for a cereal box or a doughnut bucks or whatever you want. What I always do when I do a mockup as output, the layers and the reality. So the top panel will be at the top. The most important panel will be next, in this case, the France and any sign of supporting information like the back panel and the thing will go towards the bottom of the documents is switched off that front panel. You can run it. I'll put a god's to separate those two gods to separate the front and back into do is this packet. It helps to have it and can sue this points of reality. If instead do a real angle, whatever way this pack is leaning back and you try and do all that distortion in that just by I can, can be really complex. It's helpful to just start with this Anki. I'll show you what I mean with the front panel. So I'm gonna go with that there, I think. And it's obviously just needs to be pulled in a bit here to look closer to the original proportions. Just getting my points again here and put down a bit. Let's get that perspective and I'll show you the way I check that as well. Let's just turn that off. Are we going side panel as well? Do the same up to something like that. Definitely pull that one down somewhat. And I'll just bring that again. Bring that in until it looks proportional. Nazis skinny other than things are protists can fit in there. Now check this out. Quick way to check as well, just grab everything and let's rotate it upside down. So that gives you an idea of where you all with your perspective. You can also just group these quick, I guess, flip them horizontally. And when we look at it this way, we can see that as a little bit high, this will go, I will go ahead and just actually edit that a little. I'm holding Shift as I go here just to make sure that I don't go out that way or anything like that. Could be good. I don't think we need to see very much at the top there. I'm going to come in somewhat. Now check this out. We're going to just make sure that scales down to same Mish kinda width as that. If m is aggressive with the top as it was with the size, axes are down there and pull that one up there. Squash that one on there when I commit. Because soy Genki, this USTR really irritated me irritate mirror, it saved me over years and years and years, but I figured it out. You actually just going to go really slowly. So let's go ahead and distort that. I'm saying two bins the lift, so I'm going to hold Shift and just drag it around Probably something like that. Bring it in. And of itself. I move that anchor point there. Just rotate that up. So it's still looking good. It's not gone to Genki it now we'll commence. Because what this what this is is that's I don't know if it's photoshop battling to remember or anything like that. But if you kinda take it too far from its original points, it kinda just loses that pixel information. So I go to slightly squash a little bit, a little bit and commits. Little bit thin commits. Still pretty good compared to what we saw earlier. A little bit more. We're almost there, It's looking good. And then that baby. And compared to what I showed you just now, that pixel nightmare, although the pattern is not exactly lining up, I don't think that's critical in this case. I did actually put this back in here to show you guys that with this anchor point here, when we wrap around and I'll pattern does a line and it looks good to the eye. The top is not so important. We're gonna make all the lots of debts. And it's not critical that that lines up, but I think it is important to see nice crisp branding there. I'm going to just fine tune that corner there. I think we can do a little bit of it. Yeah, that's good. We've got fairly crisp branding there. So let's go ahead and let this thing. I'll launch the front panel. And I'm immediately going to, I'm gonna immediately going to make a new group called highlights. And shadows. Shouts, yes, it's copy. That's because we're going to use it again later. So the first thing I'm gonna do is I'll main big highlight coming down from the side. Well, it's about the drop it down quite a bit. I don't want to overwhelm the brand. I don't want to blow it out too much. So maybe about 34 or thereabouts. Main. Make a new layer for the top. Just drag this little around the corner gas. What drove that write down for this one. And then we're going to get the corresponding shadow from the bottom. That's that We don't want that to severe so you can go Color Burn, which ignores the Watson lets the name-brand shine through, but it looks a little fake. Linear burn is not too bad either. I'll take that right down. I just don't want anything to severe pain. I don't think it's essential to call this shadow and how loud you can kinda see what's what here. It's close that down and have a look. It's not bad. It's coming to laugh a bit there. Let's go ahead to the sod panel. We're going to make a new group. Then paste. Yes, look at that. Okay, let's fill it with a layer of black. Also said that's a linear burn. It's like a down somewhat probably about 25. Let's commit that and we can have a look, alright. It's not bad, but it shouldn't be lots of them here. So let's permits. This feels a bit back and forth to you. It is, but the advantage is that if, I mean, you could be doing this right now, if you want to turn this into a cereal box or something and you want this to be a bit thinner. The whole thing to we've been taller. It's so much easier to just edit those these original Smart Object documents and when you go back those distances still there and they respond to it. So I thought that could probably go up a small ******. That definitely wants to go quite a bit darker. Check out that Caliban on here. It's not actually too bad. What could be cool in this case is to do Overall color burn. And then just top it up with a settlement and multiply the, the, you know, the main card, the main pattern takes the hit, but the branding doesn't have to suffer too much. That's something every client will thank you for. Yeah, that's alright. Now that's UPS just looking freaky. Looking freaky. Let's make a new group. Yes. See that? Copy and paste action friends. See what an olive I'd looks like. It's okay. What could be better is just to drag a gradient luxor. Yeah, It's got a bit more dimension, so it's a little darker, a little lighter there. And I kinda like that quantity and already I thought, you know, usually we will have to do something else on the box as well. Let's just make it colored main corner or age or other. Edge is a good name for that. It's a little puppy. Dropped dead rat down. Again. Just a little pop shop that it's about halfway. Just helps to turn that corner a little bit. To actually do the same for this side here. It'll be taking, taking a major bit of lag from It's getting above there. Just erase that a bit towards the bottom as well. Just brush it out. And let's make Let's make another one that side. Drop it right down. Like Hey, we're starting to get some eye. They're always like these edge highlights. I feel like that's what makes a cardboard box a cardboard box. The front door is kinda dips in and I'll show you next what I mean with that, with this window. I'm just going to name these L and R. Let's lift and harass T for top. And that helps me remember what swats of cold winter. That's why we start having some fun. Now I'm going to go click in here and set that as a layer mask to be my window shape. We saw on that reference packaging that this always kind of a giant lens of watts over everything. And this is the things brands can be a little coy robots. That's reality. If you bring this thing, there's products out of a shop, you know, you it's going to reflect the parking lot. It's going to reflect the sun. It just is. So we'll start conservative and maybe make it about 20 or something like that. We'll just have to see what it looks like when it's got the products. In. Speaking of the products, Let's open it up. Revolted. Dragon, immediately convert to a smart objects for good reason and pop them in there, he's behind that layer mask is looking good. Let's just getting below the lens USE so that's not too bad actually, we could probably take it up to 20, I think, still see him. Now. What I like is just to get this a real, a real big kind of interfering, highlight this. So I'll grab my Marquee tool and just draw this free form shape like this. On its own layer. Drag a little gradient that kind of as a fall off there. I'll brushed away here with this lots is hitting here is essentially how it has. It has to start with a little bit of shadow from the, from the box itself. Maybe just randomize it a bit randomly brushed away. Now the thing I've noticed that makes this look super-duper cool, describe a smudge tool day. Is these, they don't just end this way, this plastic lid, so this cardboard is it's always going to pinch up. So I just use my Smudge Tool two. Let it curve up there and a little smile on, it seems to make quite a difference, I think, to how things like this, this is going to look again, that's not bad. Let's have a look in Situ. Yeah, That's okay. You see it's looking a little little dark now. And I think what that is is we, we need to put an inside color to this box. Say, let's, let's sample a nice orange there Maybe pump up the volume a little bit there. We also, we also want to put a little shadow here where this product is further inside the box, I guess. And we'll just say that's the multiply. Let's go back and look again. And there's two things I want to show you here. Can you see how he's kinda getting skewed there? This is because everything's flat here. So whatever we've done to this box, it's going to do to this products as well. We actually have to rescue him in the opposite direction. And that's the K is also a smart object so you can go to town on him. Let's go the opposite way. And we squish this rat's perspective. So we're going to do the opposite then make him a bit wider. It also needs to move a little further into the box. Check that out. That's a bit better. Hey, it looks a bit closer to the original product. There is something else we have to do. This side panel here obviously exists on the other side of the box. So we'd see it on the inside here as well. The way we find that points is just to drag a guide so that corner there. And this inside orange layer that we made here that's going to be a little darker there as the it's not really catching any refracted lights. So we're not gonna do it on this layer at silver going to do it in the smart object. But what it will look for is a little reference here. Somewhere near the tip of this second L here. I'm pulling another one the same. We'll make a new layer just above it and drag them all key for the sod panel. Fill it with a similar color. It's a multiply and just knock it back a bit. It doesn't have to be too severe of a change. It's just something that's gonna make a difference. We get that. We get that God out of the way. We get a little bit of a better idea that he's turning the quantity. It's just top up the contrast there a little bit brighter than the background. And go a little bit darker. On the side panel. That's not bad. I think we can pretty much leave the box of this points. Like I said, this is still a conceptual mock-ups or we wouldn't want to spend hours and hours on this. But we do want to get a little bit of improvements on the window. He is still despite the highlights, it's still looks like it's the same layer as the box. And there's a couple of things you can do to approach that. So I'm just going to select this little shape here. And while it's still selected, I'm just going to move those marching ants in. And within the window. I'm going to make it a little layer. Let's just invert that little layer of cardboard. You see that they're just that cardboard edge. I'm a fan of dodge and burn and so destructive tool. But for a quick thing like this, like us feel quite painterly. So we're going to dodge that and just burn in here. It's a Latin it up a bit. I mean, not as much as that. I'll drop the saturation of this as well. Yeah, it's a button on a cardboard in it. Then let's re-select what we had. Let's invert that new layer this time it's not within the window, it's actually going to be in a highlights and shadows. We're going to make a lip palate says that Lot comes to the edge of the code and runs that have caught and kinda runs over the surface there. Let's do a white fill. And I'll set that to overlay. Thrown a little Gaussian blur. Just drop the opacity a bit. Lost to take my eraser and just brush away, leaving I need this kinda money section here. It's making a copy of that, set it to normal. Again, just brush it away. It's going to have a look in Situ It's a lot better. The colors blend could be a little bit better, but are we getting the idea that this is this cardboard is a layer above this window here. Under said that once overlay as well to another copy on top sits a normal just want to start getting some of that warm, say, scrupulous to a mosque on and we're going to just brush it away a little further. Okay. Now there's something else we always see on this kind of plastic, isn't there? And that's this random reflection. I'm just 1,000 pieces of nonsense. To replicate that, the best method I've found is just to get my marquee tool. Draw number of little organic shapes and swells. It looks crazy now, but we're going to put these on a minimal, minimal opacity. And they kinda get this feeling that this was in a room with something. Use media in here just to see if I can randomize them a bit. So then I looked quite like I just drew them. Also like the way it breaks them up a little bit. Not too much there. Let's draw that right down. So I'm talking like some five per cent. Alright, So we basically got some siblings of a window box there. Let's grab the whole group. Move it up into the center of the canvas. And a great way to define this as a concept piece is just to whatever color you are running with, in this case an orange. I'll just go for something that's really gonna help that pop luck. Nice, icy blue. Grab a nice dry media brush. Pestel. But Louisa said it's about a half opacity. Just brushed plan the more we overlap these things better at lux can also set to multiply just to get some super dark ones. Selected brush and feeling of a shadow under the window boxes are Hadza illustrate, but they're almost always simply for conceptual purposes, like an early product reveal and will be replaced by photography. So they don't need to take long to do or be photorealistic. Well done 5. Metal Cans - Re-use Forever!: In this lesson, we're going to learn how to illustrate a slick missile body spray can we can reuse for multiple projects. The shape of this canvas is 2000 pixels wide by 3,000 pixels tall at 300 DPI. And the folder structure we're using is the overall name of the products. In this case, metal can, cap body and environments and a separate shapes folder that lives outside of their shape we're going to make, we'll just keep the originals in here in case we want to edit anything off to us, open up our artwork. The resources section, you'll notice that there's an aluminium texture from Texas for Photoshop. And then middle cannot work either as a PDF or an illustrated documents. I've included the original AI file for anyone who wants to play with the design a bit or add their own graphic. And otherwise we're just going to bring proportions is ticked. Sometimes this is all for in Photoshop opens up and out, can not have compound shapes. Instead you fry shape tool and make sure that we've got rounded rectangle selected. So fizzy, roughly to the size of this kind of background here at 06:40 wide 1770 tool. Again, make sure on an Ellipse tool this time, we want one just the same width and a height of about 01:30. I'd say. That's actually land of quietness. You might want to find that you just hot align them like this and maybe just nudge your ellipse if you've chosen a slightly different setting, I'm fairly comfortable with that rectangle we did. We're going to walk the top a little bit. Kappa with a bend. Six comma five. Before we do anything to these, Let's drag these originals and tall shapes. They're spread them back again. Make a copy on top and hit Command or Control E to merge them into a single shape. Select those. Mosque will pay instead into the body. This one. The main body of the candle fit inside this. Don't stress too much that this isn't reaching top and bottom. When you photograph a can, the camera tends to bend the bottom and the top of the photo. So it's not critical. Assad's which we're not actually going to use this layer except them to reference the color. The do the first thing, we're gonna do a rounded rectangle. Just slightly wider than I can. And roughly once you three pixels tall, That's great. It's make sure there's a nicely aligned to each other and to the canvas itself. Now let's add a Watson this as well. This we're going to do an arch roughly equivalent to the top of the can there. We're going to draw another shape around a rectangle with a radius of 150. That's gonna be a little slimmer than I can. So let's go 635. Let's go to 635. Will play with the atom at laser. Now this is a good opportunity to show you how versatile this is. We can just hit U again to put up those properties is again, I'll drop that and I'll drop that to 620. At a cap shape. Let's add a warp again. This time we'll just be an OK EPA. Let's keep these originals and our shapes folder. Also make a copy of them together to affect someone. Just because those two things like that. So this group just to check that it's all working and that's pretty great. Start getting this into position. So now the capital go below the body. Just see if we can move that down a bit. Whole thing sitting nicely into the Canvas. Book with this texture a little bit. Let's scale it down to around about the heights of the canvas we've got. If we slide it through, we can see there's a number of options here, depending on what kind of highlights you want. Depending on your design you mount wants a docker can with more subtle highlights. And we want the high contrast one I'm going to make. I notice this is actually quite spread us these little grains of aluminum. So I'm just going to drag that in and of itself Move it around. So we get moved around, so we get the feeling that we're going for here. I think something like that's pretty nice. Now back to this layer. We could add some kind of a, we could add some kind of an add. We could add some kind of an effect to, we could add some kind of a layer style. But they're all a bit funky and extreme. And I think there's another way we could do this. Let's add a gradient overlay to this. Now I've sampled these colors from this. Now sampled the colors from, now sampled the colors from this. And I've also set the angle to Nancy. I'm going to switch that off. I've actually got something pretty good. In the print price is when this, when this design is applied to this can, this is pretty much how it's going to behave with this. So this first as an AAC app, then we'll just eyeball it. So it's pretty much coming in line with that catheter we've created. That looks good. With that. This time. And RColorBrewer will defer to the base of the Ken. Now let's set the mode to overlay. And 100 per cent will make a copy of that. Set it to normal. Let's group those in a little folder called Artwork. Beach. Well highlights and shadows the cap. So let's make a new layer and do the principal structure of this can grab my pin tool and get some nice hardhats going. The edge of this cap will go straight up the second there. My concern of Rodney at the top. And because this is because we were in a mosque here, you can do any shape you like on the outside. Let's go to pause and select that. I'll add a fill of what this be Bolden go with about 45 apostasy. I might just move that out of out of bed. Motion blur. Go with a real short run. I think in this case, not more than about 14. Also duplicate that. Bring it over to the other side. Something going for this little lip here. We might be able to use the shapes that we made earlier on. That one looks pretty good. Let's make a copy of that. Rasterize it. We can just select some scientists. We go back up here and we'll fill that selection down. To just chop it off. You can see we dropping the opacity on this a little bit. Especially you keep it at full blast. Start brushing away on the sides of this. We pretty much once a broad cyst with we pretty much once a processed where the where the shadows are hitting it. Let's give it a quick, Let's give it a quick Gaussian blur. We can get a better idea of what we're looking at here. That's me, that dominance position. Okay, that's cool. I might simply drag another layer on top just to give it that extra pop. We ever got this really huge highlighted coming through here. Suddenly get started to get some nice form there Let's add a main highlight here. Whatever that would be causing this big thing. Grab a nice big ellipse. And let's add it to my shapes. Will also just add them Maki from they're going to give us a little bit of a shape to plan. And something good like this. Did, could probably go find Q with them. So I think I'm going to actually dial them up a bit and we'll just peel them back until they look. Rats could also be because we haven't actually got an environment where they can often make a major difference. The color for this cap as well. On some highlights for the body. Just going to augment what we've got here a little bit. So I always want a little short run on the edge. Just think that's just want a little short run on the Edge. Transform and flip that and make sure I've got one Other side. Let's see about this big one. As the light hits. Yeah, The first point that it hits the cap, It's gonna be the most severe, is gonna be the most opaque and breaths. But it will have caught a fall off. And the same is true for here. So we've got to just drag it, but let it, let it pretty much disappear before it gets to this texture. Also put a motion blur on that. Let's just drop our opacity somewhat. Now the cool trick is to go low with this one. Make a copy on top, scan it in, bring it up and then we can, we can really get that pop as it starts to hit there. Also brush that away a little. Let's give that a little bit of a Gaussian blur as well. Copy those to read them over here. Scale them down again. I was a little highlight there. Let me have a quick look. Cats are super subtle though, so let's merge those two. Just drop them right down. Just push up the contrast here a little bit. I think that's looking pretty cool. Let's go ahead and add our environment color now. And then we can really start to see how this will take effect. I'm thinking something like a deep black with almost like a hands of green. And if you want to use the same as me, a zero ie Tintin on top, and grab a radial gradients. For E, for F. That's cool. You can drag it a few times just to get a cold pulse. They're just pump up the saturation a little bit on this loudness as well. Always like to add a bit of noise to something like this. Maybe just about five. And then we'll just soften that with a median. Really just about one or two. I think. One's good to actually looks out-of-focus. Right? So now it's actually starting to look like a bit of an ad for our products. It's looking pretty cool. I'm quite happy with this. One last little trick that if you knew, if you ever find yourself doing a mock-up and adding it into an ad like this. To just get like a little bit of an outer glow going on here. So we'll just use our default what? The mellow brush, a nice blurry brush at full opacity. This is their right behind it. It's overlay to one on the other side. Little with these highlights a little bit more, It's actually looking a little ghostly. We learned a lot about lighting in this lesson. And this mock-up is always in high demand by brands as they're inexpensive to produce 6. Glass Bottles - Part 1: Welcome to level four. We're going to illustrate a beautiful glass, one bottle in this lesson and illustrate clean busier highlights to simulate a studio that shoots. As we start to approach reality with these mockups. This is a great time to reiterate why we illustrate these. Instead of just downloading a mockup or using a stock versa. I did a project for a large one and States and South Africa, they were extremely proud of the slugging unique shape of their bottles. They felt that even in the silhouette form, it will be recognizable as they persecuted variance. And what it's taking me longer to download a mockup and editor to look like the bottle then just to create it myself. Additionally, we could build a client's for custom-made illustrations. They did explore photography as a plan B in case the illustrations were and Realistic enough. And the Talmud would've taken to retouch all the highlights and get them just rots so that they weren't overlapping the branding and we're exactly where the client wants at them would have cost so much, the agency would have lost the entire Projects. Will be working on a full canvas here that's 2,129.7 cm. If you're not familiar, just look for it in the print presets of Photoshop. We'll be working at 300 DPI again, what do we make here will be suitable for printed publications like magazines and supermarket promos will be working with this folder structure. In this case the brand name of the one. And in my case, and below, beneath that, we've got a foil cap folder, palettes, the bustle and wonderful shadow and reflection. That shadow is singular. Now this one bottle is gonna be completely symmetrical. So we only really have to draw one half of this, flip it over, and then reuse it for the other half. So first of all established this insulin and your Photoshop documents above the background. It's making new layer and drag out a box and fill it. Your default black. I'm gonna duplicate that, bring it down and inverse it by hitting Command or Control. I copy the black one again and bring it down there. When we merge the layers, we essentially creates a rule of thirds to guide us as we illustrate the shape of the swan bottle. I mentioned a number of different wine bottles before recording this class. And I found that they were generally all splits into these three quadrants. The bottom two are the main shape of the bottle. And the top third is for the NIC at the top of the sensor Box, as roughly halfway in the transition from the bottle shape to the neck. In this lesson, we'll be drawing with a busier path, will be using a traditional work path and Photoshop. So we won't be using the Shape tool for this lesson. Let's hit P to get our pin tool. And whatever we draw will appear and our paths panel as a work path. Let's open up our bottle group and make a new layer. We can call this bottle shape. We can drop the opacity of this as it's essentially just a guideline. And let's lock it so it doesn't move anywhere. That's what bottle shape. And we've got our pen selected. And let's get started. You can go from the top-down or bottom-up. It really is your personal preference. In our case, I'm electing to draw the foil cap separately. I'll start from the bottom. Biggest challenge is figuring out how wide half a bottle is. The good news is we can go in and edit the path anytime we like. So let's just work on an OS bottle design for now. It's obviously a lot slimmer than we're expecting. So I'll just drag these points up. Just using R sub select tool obviously can just tap a to access that. And that's on Windows or Mac. It's a little bit of trial and error. I think the bottom perhaps could be tightened up a little. Test it out and see. So go over to our paths panel. You can right-click or control-click the work path and make a selection. Let's full with our default black. Let's quickly and make a copy. Flip it horizontally and drag it over. That's not a bad Stotz. I would say generally that the bottle could be a little wider here and the neck probably a little bit slimmer. So I'll go in and edit that. Let's make a selection again. A new layer above the, fill it with black. How we can compare. Of course, this curve on the side could smooth out a bit. It's perhaps you having the same thing as me. Something you're going to see for the rest of this class is how frequently zoom in an app. What I'm looking at my work. Sometimes it just helps changing the scale of what you're doing now. And this is really small, it doesn't look too bad. We also need to zoom in really close and just make sure we've got this smooth lines. The shape could have had a little improvements. I'll just hold Shift as I drag that down, trying to get a better relationship with that off. That's not a bad silhouette. I think I could work with this Okay, let's merge down Command or Control E. Call this bottle shape. As we started with. To make this easier, we're going to convert it into a layer mask, or more specifically, we're going to prepare this to become a layer mask. So I'm making a new layer and filling it with whites. I'll merge those two, then invite them. It's obviously not a pure black because this is going pink rather than what. That's quick and easy way to do this is to go to adjustments and levels. I'm going to click my white point sample and just tap that and it's gonna go pure water. Now I can select all by hitting Command or Control a copy. At a mosque. Option click to get into that and paste. I'll get rid of that bottle that we made. I'll get rid of the thirds. I don't think we need them anymore. Let's fill it with the straight black and I Bottles back. Now, everything that we do inside this layer mosque will live comfortably. So it'd be at the pilots are the bottle or the foil cap. We will go and modify this laser. Obviously there's going to be a small bump here where the Coke goes in and the foil cap seals around. But for now let's just get our polka dots going. Glosses the most reflective materials. So think glossy hada edges on highlights with a much sharper fall off than we've been doing up to now, let's imagine there's a distance soft box to the lift and another softbox close by directly above the rats. This is going to help us understand that our main HOD lighting is coming from the top right down, but that they will be supplementary highlights coming in from the left-hand side and reflects the off from the bottom and hitting the top. Let's make a new layer and call it bottom scoop. When you photograph these in a studio, there wasn't a white table with an infinity curve and the back. And generally between the curve and the water surface, it tends to throw up a watch reflection on the bottle that the bottle shaped bins around itself. Let's hit P to get out pen tool. We're going to draw all our highlights with the same pencil. So let's go over to the Paths panel and make a new path. We can call that bottom scoop. It said pizza axis that we just wanted to go some way of the way up and down. So about there we'll draw our real tight VNP kind of fall off here. Let's make sure that's landing right on the edge. Will just drag a guide for our reference. Okay, that's all gonna be inside a layer mask so we can comfortably outside of that to add it. Let's make a selection. Draw a gradient that goes from Watson empty, making sure on a linear gradients, Let's leave the layer mode on normal, drop it down to 20% opacity. Let's go into our layer mask by holding Option and clicking it, we're going to get our magic wand, probably the most awesomely named tool in Photoshop. Let's go to Select, modify, and contract by about 15 pixels. Now we'll invert that selection and chop it out of our bottom scoop. So I'll just turn the opacity up so you can see it's basically becoming insets a little bit. We are later going to show that this, that it's not going right to the edge of the bottle. 30 looks a little bit better for now. We match up and down later. Let's see, Let's make a new layer above there. Call it lift main highlights will go back to our pause. Create a new path. You can actually copy and paste these from here. Structuring in that main supplementary highlight coming from the distance softbox will go and sit on this closely, follow the shape of the bottle. I'm doing a custom like this because I wants it to be close to here on the trunk. But as it starts to transition, it moves with the gloss. It gets up to a higher point where it'll continue happens to the foil cap will align it with the bottom scoop we just made. That's pretty cool. Let's make a selection. Now let's grab a soft round pressure brush. Sits 100% opacity. Let's scale it right up. And let's start painting in this highlight. Grab an eraser. Similar size. Just hold shift and brush this down. So reasonably straight line. That's it. That's a 70 per cent for now. Let's make a new layer and we'll call it lifts soft edge, power, edit its copy it, go, What's our paths? Make a new path, paste that name in the P and start drawing. This will go very much to the edge of the bottle. We're going to find quite a creative way of bringing it in. Wherever we ended off. We don't want it to be around blob or just scoop away here we want to show that there was a sad, there was some kind of a studio here and bouncing the lesson We'll pull it out somewhere in the middle here and scoop it off. Again. We can go outside the layer mask because this is going off the edge. Before we commence, let's just make sure our path is looking great here and leaving enough space between these two. Illustrating glasses all about the reflections you can't possibly overdue as in terms of adding their interrelationship between each one. Let's make a selection and add a watchful. Drop the opacity to 40. Let's apply a Gaussian Blur. Just something soft and subtle. While we're on this one. I always like to dial up the hardness of a brush for these kinds of edges and just paint them back in. Nothing screams. This was made in Photoshop more than a lot that has the exact same blue all the way around. It just doesn't behave like that. In reality. This trove, this one to 60% and make a small copy on top. 60 plus 40, roughly equivalent. So gravelly going to give us 100% results. In this case. We'll soften our brush again and we're just going to go up and brush away everything but the top corner by the shoulder. Let's take the main dancer 50 per cent. That one up to 50 per cent as well. Just to get a point of view that there's a bright sunlight hitting there and then it's kinda falling off towards the edge. Without same eraser selected. Let's drop the opacity way down and just press this away towards the bottom of the bottle. Remember, if we're at something like 20 per cent and you rub over the same area five times, you've essentially deleted that information. So be cognizant of how many times you've gone with your eraser. We can go ahead and merge down by selecting the higher of the two layers, just hitting Command or Control E. And it'll differ to the layer below. Let's see what form these highlights take as they reach the neck will make a new layer and call it lift Nicholas. Let's go nuts and close to the edge here. Drag out a handle at the bottom and start following that curve. Going to pull that handle in a bit, says I don't want it to be a perfect circle at the end. You can, I'll just have just to get to the top here. I'll just widen that up ever so slightly. Is-a relationship here. This can be as sympathetic to that one and this points is more or less than N with this one. Let's make a selection. And this time we'll drag it. Gradients inside of the selection, will put it on the same setting as this left main highlights. Which when combined with getting us somewhere around a 60 per cent level, we're just about done with the left-hand side of the bottle. Let's work on how scoop a little. I mentioned that a might want to take it back down to 20. It's made in the middle 25. We can group these as lift highlights. In fact, just lift highlights, group. Make a new layer above and group that colored harass wants to be the rock Nikola, it will just copy that information so you didn't have to type it out again. And just change the orientation from left to right once we've got that right, or we've got a little copy that name into a brand new path. Why are we doing all these policies? You ask, well, a great question. We're building this so that if we needed to roll out to a different one variance, we could easily update this mockup. We might have to fine tune some of the highlights, but instead of adjusting the ones we've got after we've added blurts them. We can go back to these original pause and change the feather radius. We can change our long or short. There are any prophecies really. This one, we're going to do a straight fill and drop it all the way down to 20 or 30%. Between these, we're starting to get a good look at what our final bottle is going to look like. It's making new layer. This one is going to be called a rat's liver. This is something you always see in one bottle photography where a photographer has lifted reflects a to one side on purpose and you're getting this real hard reflection of all watch land, blocky shape on your bustle. Make a selection. Grab our gradient tool again, Let's should still be on the same sitting and drag a vertical gradient. You can drop this a little. Let's try it. It's quite severe. 70 might be better. Let's copy the file name from left main highlights and make a new layer and our out group quadratic main highlights. This is gonna be the rats equivalent to this. But we've still got to halfway God day we can go about halfway between those points and that God, it's a good size for this one. It's going to straight up to about here. Bended round. Add an a source of sqoop, will again use our gradient paint bucket. You can quickly hit G just to access that. Drag a good one down a little past the bottom. Let's drop that whole layer to 30%. Let's grab our eraser brush interrupt down to reasonable size. Just brush away the edge of the somewhat can hold shift just to go from top to bottom. Own custom pellet at this up here. Now this is where the Art Direction component comes in. If we were in a studio, placement of reflexes, we can get some really interesting shapes here where the audio of the bottle transitions up to the NIC. So let's close our rock group, make a new layer above, make a group name transitions. Let's call this first one hard scoop. We're gonna make our first highlights will follow that curve up there. Almost to the points of this midway line. It's going to sweep back down here. We can just do a real cool little flick. Aim for their, and then scoop it around here. I just want to make sure their relationship was right between those edges. And these different highlights here. Pull that up a little. And that's not bad. Let's try it out. We'll make a selection G for our gradient tool. This is what's coming from the rat, remember, and that's how proud at that. Let's try once. And then another one. So finished the job 7. Glass Bottles - Part 2: Now as this bottle transitions to the NIC, the same piece of paper or board that this is reflecting here will also reflect into the neck again. So let's make a new layer called Nick's group. Now we're going to draw something that Bowls beneath this Nikola It's tries to go and join its cost of counsel BAD here. But as demolished by the transition from the neck to the body. It will also sweep up here and scoop back on itself. G for our gradient tool again, dry one across and a good one to demolish it. We can grab both of these. And just melanin dancer about 80% and our bottle is lit. Next, we'll add, once we've got that, will go in and fine-tune some of these with our eraser tool. After that, we just need to add our foil cap to this and I shut it for the bottom and a simple reflection and we are done. Let's open up our artwork. It's the one bottle PDF that you can download from the Projects and Resources section. You'll get to pages in the front label, as well as the graphic that's gonna go on the foil cap is to shift select to grab both of them. Let's try get straight in. Now this opera, it didn't come with any background. In the original PDF. It set up to be printed on a certain kind of substrates. And that means the paper or the card that it's gonna go on. On most one Bottles you notice this is January and Ofwat and you wouldn't really set that up in the design. It would be the substrate itself. So the head of a file is just gonna be the actual graphic that's printed on it. Let's name that artwork. Converted to a smart objects and scale it down. The original artwork is intended to reach more or less with this gradients is happening here. Let's hit Okay. Now we can double-click to open that and add the paper color behind it. Let's move into the warmer tones and just pull down a nassau flat. Now that fill color can also adjust this to just take this slightly away from 100% black. Set a bit of noise to make it look more like paper. 2% should do. It. Can also add a one, a one pixel media. And just to soften that, Let's multiply the artwork on. We'll save and close that. And it appears on our mockup. When you look at a wine bottle is crazy and punchy as the reflections on the gloss, almost nothing seems to happen to the label to make this look crisp and premium. We're not going to add any highlights here, but what will, we will do is wherever the bottle doesn't have highlights, namely in the sense yet, we'll just add a soft black shadow over there so that it's still taking the Lot's of the room. Let's use our magic wand to select around that inverse, the selection. And make a layer above. Let's get a soft round brush and use our brackets to tap it up until it's about the right size. We'll just make sure it's a little bit hotter than the default brush hold Shift and drag down. Now I can really drop the opacity on that. Let's just do ten per cent. So, so that's giving it a little bit of dimension. Now you can see what looks like a hard edge in here. This is because the bottle highlights is still above our label. So let's make a new group above everything cold artwork. Change it to yellow, just like all them free mockups you've pulled down before. We'll move both of those layers into it. Let's drop that back down again to ten per cent, and that hot edge is gone. Let's launch the smart object again. I'm actually going to drag the shutter into the smart objects. It will be a little smaller because we scaled this down. Remember, we can just proportionately scale it up to the full size of the canvas. And it'll be just rats. It's hit into there. It's delete that one there. Let's save and close the Smart Objects. Now, anything we do to this, so if we're going to warp it onto the bottle, we don't have to do it twice, once with the label and once for the shadow. We also don't have to do it. So the group as a smart objects either. Let's go ahead and illustrate our foil cap. Now, we'll go back to our paths. Will make a new layer, surprisingly called foil cap. That's grab my pen tool and start illustrating this. We're gonna do the same as before and just do often have flips this on the sensor dragon little corner there. It's good just to just a little down. Get it to get it to kind of bump out there Again, if you're worried about lining it up, you can just drag it a quick guide for yourself. This is going to come about three-quarters of the way down the neck. We don't want it to stick too far off the bottle. So we'll go in and grab all those points. This tap the minute, but Let's try that and see how that looks. Will just drag it above this whole group while we're playing with it. It's not bad. But I think these could be a little narrower and a little longer. Just going to make sure I pause nicely a lambda, perhaps a little more, a couple of steps. Let's make that selection. Make a new layer above and try this new announce. I think that's gonna be a lot better as duplicate and flip that. We'll merge those two down. Make sure that overlaps the bottle nicely. Now we've been doing this in a much more painterly fashion. Let's just edit that layer mask by option clicking on it. And we'll just make sure it doesn't overshoot our foil cap we've made. Let's add an adjustment layer of brightness and contrast. Will make sure it's targeting the previous layer. Just give that up a little bit. I always like the play between Nick level on a bottle. Let's drag ourselves some reference guides for these Nick halides we made earlier. Just like the paper will add a little noise to this foil cap. And then keeping out gods and men for lift and rats per Dodge tool. Unfortunately, there's no way to hold Shift to get a straight line with Dodge and Burn way around. This is just to click outside of your first points. And Shift-click below this guy up one more time. Let's shrink the brush down for this one. Same again. Down. Then up. I'll switch that off for now. I'm gonna get rid of all but my sins. God. The foil cap is answering so there's highlights but be staying true to its substrates, which is not very reflective at all as looking a little cool compared to the bottle. Let's add another adjustment layer, hue and saturation. Alex, a lot better. Let's go up and work on this. Work can have this bump SAT will make a new layer above here, call it a bulge. Let's go back into our paths panel. Make a pause by the same name, P for pen tool and referencing this curve here, let's make something from that point to that point. Just drag the handles about halfway. Let's select that G fraud gradient tool. Let's drop the opacity to less than halfway and just drag a short-run sharp on like this. And let's grab that bulge paths, duplicate it and bring it down. We'll select again. We'll invert that selection, make a layer above and brushing a small shadow. Deselect. Let's add the shadows and multiply and drop it right down. We'll go back to the original bulge and drove that nice and low. As all to be really subtle. Let's select them both and convert for smart filters that a small Gaussian blur. Now we're ready to add on our neck branding. This is intended to run all around the neck of the bottle. And the easiest way to check that on our renders counts how many lives as they are set 246 roughly to lessons or friends or that fit on the front face. Let's center it And using our selection tool will create a layer mask. Let's call it artwork as well. We'll make it that familiar color converted to a smart object and add a very subtle walk to it. Now we just needed to go a little darker wherever it gets darker on this bottle here. So that's on the edge of the N and the E. And pretty much these, pretty much the apparatus of the lessons as well. Let's make a new layer right there. Drag is short gradients will also use a soft brush on a very delicate apostasy just to brush the center. Let's save and close and see what that looks like. Here's a pro tip. This label isn't very thick, but it would still have a tiny edge of paper or do the least cost of tiny shadow on here. Let's duplicate the foil cap group, merge it, fill it with black, move it to the bottom. Just give it one step down. We've got that little edge there. You can even see it at this resolution. The shadow and reflection will make a new layer. I'll grab an Elliptical Marquee and drag a real shadow ellipse around about the width of the thickest part of the bottle. Let's fill it with black. Move it out of the main group and just move it down a little blurb about five. So this also use a horizontal motion blur just to get the edges two sheets out and it's kind of sorts at the opacity on its own. We'll add noise to that. About four. Let's just scale it in a little bit there. It's a bit tapping into place and as you wants a hovering one bottle of course. Then add a reflection. Not believe it or not, almost two decades into doing this. And I still see mockups and publication that do the reflections wrong. This is how not to do it. Make a copy of the bottle rotates. You don't really see it, but when it was it fluctuate full opacity. You could just see what was wrong. The reflections don't match up. That one goes much the edge, and this one's got that little bites out of it. So we definitely never want to rotate. What do we will do though is we will duplicate the group. Will images apply the layer mask, put it below everything, flip it vesicle. And now it's a perfect mirror image of the mockup we've made. As the bottle will roll under here. We're not going to meet Surat at the edge. You're going to tap just once behind us. Up the opacity, college shadow, small Gaussian blur. Let's add a mosque. Will just brush away as the reflection sinks into the water surface. Always make sure I didn't really hard one right by the edge. Because when some other designer picks up this PSD and puts it into layout, we really don't want a hard black edge of your reflection there. Let's make sure it definitely doesn't touch the bottom of our Canvas. The last thing we need to do is walk on the artwork. Let's add a warp. I'm going to choose bulge from the presets. Just put a numerical value of two. And it's wrapping around our bottle quite nicely. That's a perfectly suitable size for most print publications. Presuming we can see the detail quite nicely. We do have time for a couple of finishing touches. Like I mentioned earlier, I'm just going to go back into the Hornets and process them out a little. Let's open up our transitions and work on that hard scoop. I'm gonna grab my last Sue again. Just put on a small feather of about four. Select around that edge there and add a tiny goes in blue. What furthering that selection did for me is avoided a real heartbreak between the blur and where it's still hot. So just kind of automatically join it to the bottom for me to keep the same settings there and just apply. Another instance of that blur. Can even add a double instance here if I wanted to really melts away. The last thing I want to do to is the bottom scoop. Just as a council weights at the top here. I'll shift to select both. In a little take on a little bit of a blur, and we're done. It's fairly realistic show this has been some artistic license taken with the direction of the last thing. But this does have an advantage over photography. The label, the contents of the bottle and the bottle shape itself are all highly editable and reusable components refer to. Of course, the shape of the bottle often indicates the contents, but as we learned in the previous lesson, busy a POSIX easily altered. Before I hand this off, I just do a quick check to make sure all my layers are neatly ordered, haven't actually named today yet. So we'll call it and Nepal. Paul Miller. And we are done 8. Soft Bags - Part 1: Here's what it will make for our final mockup, a big old bag of chips. Over the next three lessons, we'll work from a supplied packaging design fall at greater Pro spec mockup for final output. This is all lost one. So let's have some FUN or I, so this time round we're getting double the size of the wine bottle. That's an A3 canvas at 300 DPI and it's in CMYK color space. This is the industry standard size for mockups suitable for billboards, TV ads, and print media folder structure similar to the one Mr. Chips, and it's 120 gram bag of chips or crisps. Beneath that, we have a highlights and shadows group. And within that individual groups for cramps, highlights and shadows, we can leave the background. Watch for now. Let's go ahead and open how artwork. I'm going to bump this up to two-and-a-half thousand pixels wide. It's just going to look a little bit better in the crop. So we can see the OT Greg has landed with Part of the data and bags. And if you want to and you have the software, you can open up the PDF and Adobe Acrobat. So Adobe Illustrator and switch these off. We're going to just deal with them here in Photoshop. I'll select all command or control a copy, close, paste, and it'll land nicely in the middle of my canvas. And I move that below highlights and shadows, but still within the Mr. Chips group, I'll call it artwork. And before I convert it to a smart objects, I'm going to drag down gods to show me where the crimped should be on this packet. Now can go ahead and sample the main orange of the bag, drag it down to the guide, unlock it and fill with color. Now that I've done that, I'll convert this to a smart object just to protect it. What this also means, obviously, is that when we've done this professional print 3D render, if there were another flavor of Mr. Chips, say salt and vinegar, I can simply double-click this pop in my salt and vinegar artwork here, close it and my packet updates to the next variant. Let's create a victim mosque on the root folder. Pizza. Get our pencil and just lower the density a little. Now what we're gonna do is block out the basic shape of the bag first and we'll go in and fine-tune all the crimson furrows and bumps and lumps later. So these skill areas are flattened by machines, so they're really tough. They, if they're going to flex, it's just gonna get a little bit of flagging type action at top and bottom, the main bag is going to pull in on the top and the bottom. So let's start lifts up, lift and we'll go all around. When you land your points. Just give the handle a little drag, then it's going to come in handy later. Can also hold Control Alt just to stop that points and have no handle there. Now that we've got the basic shape, we can play around a little bit. I'd probably bring these down a little just because the as they always say on these kind of bags, contents may have settled on transits. Doing it this way, we get a good idea of the general wasting of the bag before in a go, before we go in and add all our detailing. Let me randomize this a little. Like it's pulled down there. But also wants a nice big crimp around about here. I'll just play with those Bezier handles. I'm just holding space bar down and kinda clicking when I wanted to stop. If you guys don't do that, that's a technique I've always found very helpful isn't illustrate, suggest to slide my way around the image. You don't have to follow me exactly. But you can pick up on a few of these principles. Just these very sharp tins if you want to get quite distinct ones that pretty much the closer you put these little handles together, the more severe the bumper is gonna be. But it's not an exact science. And preparing this class, I must have painted this exact packet of chips three or four times and it's a little bit different each time. I'm gonna go ahead now and hit P for my pencil and start adding some lumps and bumps to it. We don't need to worry about the handles this time. Obviously the fact that the main path has handles on them, any new point we click is going to obey that Just like these to bump out a bit then be quiet so straight. Where we cross the stream so to speak, is where we're going to, we're going to pull down real strong highlights, real, real strong creases as you tend to get on a bag like this. Something often see up there on supposedly Pro mockups is kind of hairy shadows that are just too soft for the top of substrate that they're meant to be. You can add as many points as you feel like. But generally with any kind of busy path-based illustration, the fewer points the better. Do like what's going on here? Just getting them to dance that little dance there. I think we could work with that. You would just push that density backup. Now we won't be needing it anymore. Now these always look good if we let it, like it's in a supermarket, so it's got bright direct light all around. That's how we're gonna get very interesting shadows and highlights and Realistic molding to make this look like it's bulging forward in the sides are being squeezed. And the way we'll approach this is we will try and avoid major creases in crinkles over the important brand infer it's presented as a new product that's being launched. No client's going to want to see this H lying and deepen the shadows. What we will do is we'll build the molding bottom-up from the darkest shadow to the lightest highlights. So let's drop that down and starts with, start with shadows. The first thing I'm gonna do is drag them Maki, in about halfway into the bag and from God. So God, D for default colors and dragging a gradient father's side. Call that One L for left. I'll make one for the right-hand side. By flipping a copy horizontally and moving it over, we can go ahead and sample the color of the packaging. Just drag down so something a bit darker and fill these. They look a little less severe. While we've still got that color loaded. Let's also drag it's also drag something for the bottom here. Now this one immediately I'm going to walk down. Do you want it to curve and I do want it to bend. Call that be for Boston. Will make a copy and call it T for top. You can also rotate it like this. Bring it up straight to the top. Of course, this doesn't make sense to have this kind of deep orange bending onto the yellow. So I'll do the same thing. They'll sample the yellow and drag down. I just want to show you particularly on colors like yellow and very bright greens like this. If you drag straight down to just sucks Ola left out of them. So the further we go down, the more we want to stick over to the saturation and we don't want to go much past the midway point. So it's going to look plain gross. See that's a lot better. You can also sit, It's a multiplier just tailored off a little bit Let's do the same for the bottom. We don't want these to severe. I think we can grab both the right and left ones and also take them down a bit. The 70s. And let's set these to linear burn. You can see they're starting to interfere with the branding a little bit this, so we will brush away at these just to customize them a little bit. Let's sample a nice dark piece of the shadow there and make a new layer above. Cooled bumps. Grab a pressure, will grab a pressure sensitive brush. I like the soft round pressure size, very much gentler M, The smaller the line it's going to produce. But the harder I push, the bigger one it'll do, also get quite a big brush going. And every way we have got these very severe bumps if you made anything like that. That's essentially where this piece of the bag is coming forward and that one is folding back onto itself. We'll just said that's a multiply so we can see what we're doing. Are you starting to look pretty good? Okay, Let's move on to some highlights. Create a new layer. Let's just hit D for default colors again and we can flip them. The first one we're gonna do is called low lots. These are gonna be sits to overlay. These are gonna be sits overlaid 75 per cent. Okay. We're going to stick on our same brush that we've got you, the soft round pressure brush. Now these ones are the equivalents of these shadows, the light side equivalents of the, now these ones are the lats add equivalents of these shadows and they're going to dance around them essentially. Conversely, we're gonna go really skinny wherever that's fats. And they can add as we move away from them. Pressing very, very gently here is a huge advantage to having our Wacom tablet for this kind of work. But it is possible to do with the mouse. The first two years I worked as an illustrator. I didn't have access to tablets and we made it work. While you're going. You can also drop the opacity here. Saves us brushing it out later. We can just soften some of these edges as they start to blur out. What least add some softness to these edges. That vector mosque was well worth the effort, I'm sure you'll agree. We can kind of paints as we please, and it doesn't matter if we got the lens. While we're on a low setting like this, Let's also do some generous ones here, all along the side. Okay. Now, my go-to trick for a swab, Lena CNMH, certain you're going to experience the same as me, is to go add some median to it. This is usually to get rid of noise and JPEG artifacts and that kind of thing. But the more you add the mod takes all the little nubs of your work. I don't want it to blur it out too much. It's looking like somewhere around fives. The right Mock can also grab an eraser. Let's just stop brushing away at these a little bit. If you find yourself in the middle of a whole batch of Latin lot can also just use your smudge tool to randomize it again, just put the strength or add down and give it a little shake. Interesting story about these chips. While we're here. To make this packaging. There always have a beautiful picture of the products inside. And I'm the real cool way of doing this. If you need to just mockup a bag of chips and you don't have it as bypass bag of crisps and just stick them between your fingers and your open palm and hold them all out afterwards, or just kinda DPH them animated a bit of a layout here and you get the general look of what you expect to see on a bag of chips. 9. Soft Bags - Part 2: Okay, Now you get the idea, depending on what you're going for. If you want a very reflective foil bag, these layer modes of your friends. So for shadows using quite aggressive things like linear and color burns and for highlights, overlay. And the higher the opacity them all foil it looks. Here we going with a plastic goods at foils are generally isn't mirror finish when it reflects. So we're just doing these as a starting level. Highlight that we can work on top of. Let's do a new layer above. Call it Midlands. We're still going to stick with that same software pressure brush. This layer is going to be normal at 25 per cent. Now what we are doing here is as the light hits here, it's going to have a broad center and then kind of go to the mid hotspots that are about two panes and then peel off to these lowlands that we did. So we're doing the center points of these. I'd actually lifted on the lowest setting there. That's quite interesting. Let me go back and just show you if that's what, 100, but this is still, but this is still on. That's at 100 and this is still on 25. We are getting pretty much 75% opacity. And if you want to open this mock-up down the line and look at it, it can be a little confusing to track what you'd actually done. So you can put that all our full week if you're not sure, and edited a bit later. But we will be flicking between full opacity and lower as we this ad. In the previous class, somebody asked how you get the brush to go bigger and smaller as you work. We just look for the open and close brackets on your keyboard. And just tap, as in submittal needs to go up and down in your brush size. Real aggressive bump. Definitely want to take care of that. A little more careful around the branding. Okay, that's not bad. Um, I think they're okay. I probably wouldn't do a median on these too much. But we will grab an eraser and just brush out some parts like this with a bit of duplication going on. But also makes the magic is to play with the hardness so we don't want it too soft or too hard But we do want to go up and down on us and we can get these smaller it is, it's going to get these real sharp edges. And that's how you avoid the hairy look. That's a natural highlight that goes from quite crisp two, very blown out at the end. I can also go quite random and I give you all, give you a mouse wheel pen wiggled when you do this, we go back in and outs just to check on our progress and make sure that we're grabbing all the highlights. Okay, there's on bad. Let's go ahead and drop them back down to 25. Now let's make a new layer and call it reflections. We're going to grab our lesser tool. Just like we did in the window box. Just like we did in the window box class. And these are just going to be those incidental kind of reflections that you see. Especially when you're trying to take a photo of something with no reflections. Let's go real random R0 and organic here. We want to still keep some kind of relationship with the highlights that we've done so far. I'll just hold Shift before I draw each one to make sure that I'm keeping them as a little selected group. That should do it. The sides. Let's also a good one for the bottom and another for the top. Can you do some extra cheeky stuff here? Let's grab our brush again and brush from the inside out. Let's put up the full blast there. Let's drop the opacity and fill the rest of it in. It's pretty good. I don't want them to be too perfect, so I'll just add a very, very small Gaussian blur, one or two pixels. One looks pretty good. Now put the layer mode to, put the layer mode to hard lots. But the layer modes are hard, ladder 25%. Let's get in there with our eraser again and just randomize them a little bit. Just put it on some level setting the 30s. And for the most part, just pick and choose and will. Every way on this packaging is gonna be a little bit of a dip here and a dip there. And these reflections will respond to that. It's coming together. You'll see where it looks artificial. It's not about them being blurry or two, presence, they just shouldn't look like part of the design. So definitely be a holiday or not. We want a little bit of extra flats on the top and bottom just to make this pack sing. So we'll just grab our Lasso tool and select that one there. Make a copy and paste to that, back to the reflections layer. And do the same to that. Let's call that extra B for extra Bosom. Extra t for you know what? Now they're going to lend out of kilter with the one that you've copied. So just eyeball it and get them back in line again. I'm going to select both of these and drop them down to about 45 or 50 per cent. Let's get in there with our Eraser. Again. We only want to keep this area where it really just begins to hit the pack. If you need to this sometimes it's sometimes it's easy to leave that on full opacity when you are brushing away. And then you can just drop it afterwards. A little bit easier to see what you're doing. In fact, that's pretty cool. Maybe we'd be a bit bolder and put them at 60. 60 for the top. And I think I'll take the bottom dancer 50. Okay. So we elected to put those those big. We had lifted. We elected to do the shadows on the side. That means the main hand that's got to be here on the front. Let's make a new layer above. Call it main glare. I'll just drag a rectangular marquee around about that size and shape. Fill it with white. I'm going to add a box blur to that. See what looks good, something like. That's pretty cool. I'll soften it with the Gaussian as well. Let's add a warp to that as well. We're just going to use one of the defaults. I think squeeze will probably do a great job of this. Pretty subtle like that. Let's take that down a bit. Let's try 45 per cent. Sit to overlay. We sentence, make a little copy on top of that and just set it to normal and jumped out of bed law. Obviously, we're getting the ones from the overlay, but the sensibility of the normal layer, scale it down a little bit. So there's that nice fall off. At this point, the shadows are looking a little severe for my liking. I think what's probably happening is these mixing with these. So something has to go down a bit. I would lean towards dropping these a little bit. Let's try 65 per cent. Because I do like these to have quite a point of view. Can also trust slightly different color modes. The end of the day we are essentially painting this, so it's, it's okay to go back in and fiddle with what you've already done. Alright, now, we're gonna go back to our highlights and add our last main highlights for the bag, which we'll call spreads. We'll use the last tool. We'll use the Lasso again to draw these. And these are gonna be those. These are gonna be those ultra tight little pops of white that you see on a bag of chips. Same process as before, we just holding shift between each one. Cool, Let's fill it with y's. Can get an idea of the distribution. Not bad. I'll probably add another one around, Randy, I've never hear about. So I think probably add another one right here. Let's get some up here too. The first thing we're going to use these vertical motion blur, usually about 15 pixels looks good. Any less than that, and it just looks blurry. And any more than that and it looks like it's actually moving. We'll also add a median, just will set a median just to wrangle a little bit. Getting nothing too major. You can see it just takes the sharp edges off. Now let's get our razor again. Let's get our Eraser again. Set it to something low, like 30% opacity. Let's find wherever these really flare out. So the biggest sections, when they, when the last is finished telling them, we just want to soften those slightly. Let's drop the opacity down. Play with this, see what looks good. You might run very severe handouts like that. But if you go to load, gets this kind of victory look like you've just kept offsetting parts on each other. So be bold. Let's keep it up. In the late '70s, early '80s. You can also try some modes there if you want. Overlays. Little bit yellow, I think for my lag, but you can do lots of vivid lots. Probably just keep it on normal 10. Soft Bags - Part 3: The next thing we're gonna deal with these crimson something button, and this is gonna be easier than you think. So Let's collapse that an open cramps at a new layer. Now we're going to select a hard brush and just make it five or six pixels. Based on the shape we've done at the top. You're going to click hold Shift to get that straight line and just keep clicking and gets an approximate seal. The same warp as we've got there. When we've drawn the first one, we'll just duplicate it, bring it down a bit. We'll keep grabbing the set that we've got. Making a duplicate. Usually six or seven, we'll do it. This is a machine cramps. I'm going to learn them on my Lambda distribution perfectly. I'll merge that together called a rigid this, this is gonna be the lightest and highest points of these cramps. Now I'll duplicate that. Inverted. Drag it below. Offset it. A name at pharaohs. Isn't gonna be the shadows in-between. Let's hit the pharaohs to, let's add the forest to a linear burn. Ten per cent. Let's drop the opacity of the normal ridges. So 1% seems like it's working for this. Now I'll duplicate that. Call it pops. Bring it up to about 80. I think. Set it to overlay. Sorry. Preannounce about at I think I'll go ahead and change the original ridges to an overlay. This pops layer is gonna be this pops layer is going to be with a lattice directly hitting these little ridges. So again, we're going to look for clues wherever severely bumps in, you're gonna get a contrast between light and dark. Grab your eraser and let's start brushing will keep it on a low setting. Can also be quite random with us. Surat will play with the opacity of the originals as well. We'll take out a bit more of these pups. Also go in with a harder eraser just for real tat cramps. This point. So I'm gonna get rid of the god because we're going to need to paints and with the bag is creasing down here. Before we do that, Let's do the same process for the bottom. I can read back, It's looking nice and shiny. I think we could do a little bit of fine tuning, particularly the sprouts. Something about them. I don't really want to drop the opacity too much. Think we might just need to go in and brush them out a little bit more. Also make them warm and by setting them so overlay, hundred percent, you're still getting whacked way we need it, but orange maybe not. Let's play with our shadows a little more as well. Get an airbrush those a bit. I think it's good about midway on the hardness. The more you customize these shadows, the better they look. Cool. That's not bad. I can give a gentle, I think. Couple more things left to do. We just need to go solid this artwork. This time I don't want to make the edits inside, inside the smart object because I do want to be able to just pop other variants in here if I need to. So what I'm gonna do is make a layer above here. I'll temporarily hide the highlights and shadows, but I will leave the cramps there for my reference. I'll go grab, grab a polygonal polygonal lessor. I'm just going to not that grab a polygonal lasso and just kinda follow the reference of this last forever we have here that selected sample, my yellow. Then as hard brush, just paint that back in. Can invert that mask. Select the orange, and paint the other side. Now that follows perfectly. Now that follows perfectly. But look here, we need to do the sum. We need to do that something. We need to do the same thing for the shadow. Let's just re-select. Go over to that shadow. We've got two offenders here. The main one is the main one is the yellow one. This one we can just extend and it should be fine. Let's switch that off. I'll grab my smudge tool. The nice, big and fairly soft brush at 100%. Make sure we put the mass spec the right way. I'll just use the soft edge to drag that up. Can you the sense of this, we could also just stretched it up. Okay, that looks a lot better. Let's do the same to the bottom. Speed this up pull Coming out of warp speed here, just to show you, it wasn't really working to smudge that one. This does sometimes happen. So I'll just sample the darkest there. Grab a nice soft brush. Just brushing the wrist that or turban there to start with. Grab both of those together and pull down a bit. So just brush away this edge here, what I've got it. Anyway, we didn't get perfect there. We can go ahead and use as much till now. We've got enough to play with. Push. This pixel has done a check. Okay? We also need to do the same thing on the orange there. Let's switch those off. Sample the color. Just needs to get rid of this little piece here. Let's just use an eraser. So I'd almost say we done. I just want to give you two more pro tips. We add a little bit of extra shadow on these main creases. We go in and add these bumps. I'll add the shadows on the same group as our bumps we've got here. Let me just quickly pull them out. Can see what color we were dealing with. So we'll sample the darkest one we have there. Can just undo that, so put it back. Let's go Panthers and soft round pressure size brush We'll just going to fine tune it with an eraser as well. Okay, Now that's all done. Right back to the artwork. So we made it a smart object so we could replace the Art. But it's also to protect it. When we add a warp. Let's use bulge. We're not gonna go to severe. We're actually going to pull a rat down, rounds out and it's about two or three. We get a little bit of stuff peeping out at the top here. Let's just add a quick mask to that. Shop at us. So let's add a quick, Okay. Now we made this a smart object for two reasons. The first so we could replace the artwork if we lacked the second, that the second so that it's protected from any edits we do to it. Let's give it a warp. We're going to use the default here. We can use inflates or bulge. Bulges, usually a little more successful because we don't want it to God, it just too much. And we'll do a really mellow one of about two. Let's commit that. Will go back to edit snare here. We just need to sample that orange. Let's paint it back in with a hard brush. Great. Rots in terms of an environment, we're just going to add a massive drop shadow to this. Let's close our group. Make a new layer, fill it with black. When I click on our mask and hit P just to activate it and say Make selection. We don't need any kind of a feather. Now, let's go back to this and go copy, paste, delete this. We've got a perfect copy of this chip packet in black. Let's drop it just below. I'm going to scale it proportionally out. Our bag of chips is lying on a counselor like a flatly. It's going to have a shadow all around. Just stretch it out at the sides a bit as well. So that we're going to add a giant Gaussian blur. Too much, we don't want to laugh plus blob. It's played with the positioning a bit. Always good to offset it ever so slightly. Let's drop the opacity down. Or is that noisy? Always add a bit of noise to my shadows, just gives it a bit more realism. It's good or bad for the bag for the same reason now that we've done the whole thing. Let's make, let's make one white layer, but for it with the same noise and multiply it on. It's just giving us fill it with the same noise. Multiply it on, and it's just giving us a little bit of personality there. And we're done. We have a large, large mockup of a bag of chips where we can change the design. We can roll out to multiple variants and we can comfortably handle for professional production. In reality, this bag of chips took less than 2 h to create. That's less than the average screen time you'll probably spend on a day on your phone. Some food for thoughts. 11. Final Thoughts: Congratulations on completing the class can be very satisfying to know how to illustrate your own products inside Photoshop. This is a fairly nice skill to have an industry and I think what you've learned here will serve you well. So what next? We visit your portfolio, credit products. So a designer and you next presentation for this as a design service, practice. Practice. Then lessons your mockups online. Thank you so much for taking this class. So please consider leaving a review. This really helps me, as well as other students. The best way to stay up-to-date with all my new classes as to hit over to my channel on Skillshare and give me a follow-up. Thank you. Cheers.